Arturia has updated its top-end desktop audio interface, Audiofuse Studio, launching a Rev 2 edition with ‘optimised’ preamps and an upgraded Bluetooth module.

Among the crowded audio interface market, Audiofuse Studio stands out for the breadth of its flexibility, offering a wide array of I/O capabilities that aim to cater for any and all studio needs. It features a total of 18 inputs, eight of which are analogue inputs on the device itself, the rest provided by digital I/O.

Of those analogue inputs, four are combo mic/line/instrument inputs along the front edge, each equipped with a DiscretePRO preamp. Those preamps have, according to Arturia, been upgraded for the Rev 2 model, now offering more headroom and extended gain range (-129dBu EIN, 119dB dynamic range, to be precise about it).

The remaining analogue line inputs sit along the device’s rear panel. Inputs 5 and 6 can also be switched to make use of an integrated phono/RIAA preamp, allowing for connection of a vinyl turntable,

On the output side, the Audiofuse Studio has four line outputs and two aux reamping outputs. There are also two independently controlled headphone outputs with integrated talkback and direct monitoring.

Beyond its analogue connections, the interface packs several digital connectivity options. This includes eight channels of ADAT inputs and outputs, along with S/PDIF input/output or Word Clock input/output/thru.

The device has a primary USB-C port for connection to a host computer, plus three additional USB 2 ports that allow it to act as a USB hub. There are also 3.5mm MIDI input and output ports.

Audiofuse Studio can also stream audio via its integrated Bluetooth module. This is another area the Arturia has upgraded for Rev 2. The module now supports AAC, aptX along with aptX HD and aptX Low Latency.

AudioFuse can be configured and controlled using the associated Audiofuse Control Center software, which can be instantly accessed by pressing the Arturia logo on the hardware. Alongside the launch of the Rev 2 interface, Audiofuse Control Center has been updated to version 2.5, which is free for all Audiofuse users and introduces features including preset import and export.

With its abundance of connectivity and customisation options, Audiofuse Studio remains one of the most versatile interfaces you’ll find at this price point. Its usefulness is enhanced further still by a generous bundle of Arturia plugins, including Analog Lab Intro and a selection of preamps, compressors, delays, reverbs and modulation effects drawn from the brand’s excellent FX Collection bundle.

Audiofuse Studio Rev 2 is out now, priced at £849/999€/$1,199 USD. Head to the Arturia site for more information.

It’s one of those songs that maybe you get burned out on from overexposure on classic rock radio, but then if you leave it alone for a while and come back to it, you find more intriguing details the more closely you listen. Here’s the 2009 remaster.

George recorded a demo of the song with acoustic guitar and some overdubbed harmonium. It was released on the Beatles' Anthology 3. It’s more wistful than dramatic without all the production. George’s original lyrics are a little different too.

The lead guitar on the White Album version was famously played by an uncredited Eric Clapton, amid a tense studio atmosphere.

George Harrison recalled how Clapton's contribution came about in the The Beatles Anthology: "We tried to record [While My Guitar Gently Weeps], but Paul and John were so used to just cranking out their tunes that it was very difficult at times to get serious and record one of mine," he said.

"I was driving into London with Eric Clapton, and I said, ‘What are you doing today? Why don’t you come to the studio and play on this song for me?’ He said, ‘Oh, no – I can’t do that. Nobody’s ever played on a Beatles’ record and the others wouldn’t like it.’ I said, ‘Look, it’s my song and I’d like you to play on it.’

"So he came in. I said, ‘Eric’s going to play on this one,’ and it was good because that then made everyone act better. Paul got on the piano and played a nice intro and they all took it more seriously."

The song itself is about the band’s internal friction after their trip to India, which Harrison experienced as a profound spiritual experience, and which the rest of the Beatles experienced as… a trip to India. This tension is memorably parodied in Walk Hard: The Dewey Cox Story, which, if you haven’t seen it, don’t deprive yourself.

At the time he wrote While My Guitar Gently Weeps, George had been reading the I Ching, and was enthusiastic about the idea that everything is meaningfully connected, that there are no coincidences.

So he decided to write a song by opening a book and using the first words he saw, which were “gently weeps.” When I was a kid, I didn’t know about all the intra-Beatles conflict, and thought that George was singing about the state of the world generally. I was probably partially correct; the song works well either way.

Like most Beatles songs, While My Guitar Gently Weeps is not complicated, but it is nevertheless is full of musical intrigue. Here are the chords to the intro:

| Am | Am/G | Am/F# | F |

| Am | G | D | E |

The verses begin the same way as the intro, but the second time through the phrase, the chords are a little different.

| Am | Am/G | Am/F# | F |

| Am | G | D | E |

| Am | Am/G | Am/F# | F |

| Am | G | C | E |

The intro and verses begin with a common musical trope called lament bass, a bassline that walks slowly downward from the tonic to the fifth. European canonical composers used lament bass constantly. For example, here’s Dido’s Lament by Henry Purcell (1689):

You have heard enough lament bass in classical contexts that when it appears in a rock song, it gives a sense of old-world tragic grandeur. Pre-rock Anglo-American popular music is full of lament bass too. Check out My Funny Valentine by Rodgers and Hart (1937), performed here by Chet Baker:

The Beatles loved lament bass, and used it in several of their songs, including Michelle, Dear Prudence, Lucy in the Sky With Diamonds and Magical Mystery Tour.

In the verses to While My Guitar Gently Weeps, the lament bass runs under the opening two bars, “I look at you all, see the love there that’s sleeping.” In the next two bars, on the lines “while my guitar gently weeps”, the chords move through Am, G, D and E.

This short progression feels like a miniature adventure, because the D chord does not belong to the key of A minor like everything you else have heard until this point. You would naively expect a Dm chord there, which contains the note F. The D chord’s active ingredient is the note F-sharp, the source of the chord’s surprising brightness. (There is also an F-sharp in the lament bass part, but because it’s part of a descent, it doesn’t have that same feeling of temporary uplift.)

The second time through the verse form, George sings “while my guitar gently weeps” in a different melody, over a slightly different chord progression: Am, G, C and E. The C chord sticks out for a different reason than the D chord did the first time.

C is part of the key of A minor, but it’s also the basis of its own key, C major. The G chord is shared between A minor and C major, and it makes a nice logical pivot between the two. You have heard this particular A-minor-to-C-major change uncountably many times. I’ll talk about why it works so well in a minute.

After your brief brief visit to the sunny land of C major, the verse ends on another E, which mentally prepares you to return to Am at the top of the form. But no, the song goes into a new section on the line “I don't know why nobody told you.” Most people call this the bridge, though it’s placed where a normal song would have its chorus. Whatever you want to call this section, it’s not in A minor like the verse; it’s in A major instead. This is a much more dramatic shift than the brief visit to C major a minute ago. To understand why, you need to know some music theory.

Picture the white keys on the piano keyboard. They play seven notes, repeated in octaves: A, B, C, D, E, F, and G. If you play these notes over a droning or repeated A, you get the A natural minor scale. But if you play them over a droning or repeated C, you get the C major scale. The scales consist of the same notes in the same order, but changing the starting note changes the notes’ meaning, like the words RESPECT and SPECTRE. When you move from A minor to C major, you aren’t changing any of the notes, just the relationship of those notes to each other. Pretty cool!

You might also expect the key of A minor to be closely related to the key of A major, because they both center on A. Beyond that similarity, however, the two keys don’t have much overlap. They only share four of seven possible notes in common (A, B, D and E). The relationship between A minor and A major is more like the one between the words RESPECT and REVENGE than the one between RESPECT and SPECTRE. While moving from A minor to C major is so smooth as to sometimes not even be perceptible, moving from A minor to A major feels more disjointed.

Anyway, the bridge stays safely within A major, before plunging you back into the gloom of A minor when it goes back to the verse.

| A | C#m | F#m | C#m |

| Bm | | E E/F# | E/G# E |

For more musicological insights into the tune, check out Alan Pollack’s analysis, part of his epic project to analyze the Beatles’ entire recorded output.

The Beatles recorded While My Guitar Gently Weeps over a few sessions in August and September of 1968. It was one of their first songs to use an eight-track tape recorder. (Everything up until the White Album had been recorded to either two or four tracks. For everything! Can you imagine?) You can read all the details of the sessions in The Complete Beatles Recording Sessions by Marc Lewisohn.

On the final version of the song, George sings lead (sometimes doubling himself) and plays acoustic guitar and Hammond organ. Paul sings harmony and plays bass and piano. He also takes the unusual step of overdubbing a second layer of fuzzed-out bass. John plays electric guitar with a tremolo effect on it. Ringo plays drums, overdubbed tambourine, and a strange galloping rhythm on castanets. The tempo drifts around between 110 and 120 beats per minute, but Ringo’s halftime drum pattern makes it feel like an incredibly slow 55 to 60.

In an unused early version of the song, George tried one of his trademark backwards guitar solos, but he was dissatisfied by it and didn’t keep it. Instead, he brought in his buddy Eric Clapton to play lead guitar on the finished version. Clapton was concerned that he wouldn’t fit into the band’s sound, and he suggested that they manipulate the tape to make him sound more “Beatle-y”, as he put it.

During mixdown, engineer Chris Thomas made a copy of the lead guitar track and used varispeed to slightly wobble its speed, which also resulted in wobbling of its pitch. This is why Clapton’s guitar sounds vaguely seasick. It sounds like they did a similar varispeed effect on the organ track. The Beatles used varispeed a lot, sometimes to make things higher and brighter (like John’s voice in Lucy in the Sky with Diamonds or Paul’s on When I’m Sixty-Four) and sometimes to make things lower and sludgier (like the entire band on Rain.)

While the chords to While My Guitar Gently Weeps evoke European classical music, Clapton’s lead guitar comes out of a very different musical tradition: the blues. He uses string bends to play pitches in between the piano-key notes, giving the guitar a vocalistic quality.

Clapton plays more simply than usual–his solo on the outro starts by repeating the note E thirteen times–but he uses expressive pitch bends to create emotional intensity. Those thirteen E’s aren’t monotonous because he bends them a slightly different amount every time, so none of them are tuned exactly “right.” I prefer this style of playing to Clapton’s showier stuff, it feels more emotionally direct.

John Lennon gets a nice blues moment in the song too, right at the beginning of the first bridge. He plays a little guitar fill that ends on C, a note that’s part of the Am chord. But the chord here is A, and the note is supposed to be C-sharp, so John bends the C up toward where it’s supposed to be. Maybe this was intended, or maybe John forgot that the change was coming and reacted to his wrong note in the moment. Either way, it’s very satisfying, because he traverses all the microtonal pitches in between C and C-sharp, and the effect is exquisite.

Covering late Beatles songs is hard. Their musical impact is so dependent on the specific sonic atmosphere the band and their engineers and producers created in the studio, the exact guitar tones, the surreal timbre of slowed down and sped up tape, the odd instrumental touches (castanets!), the layered vocals. Any competent rock band can learn While My Guitar Gently Weeps in ten minutes, but it won’t sound exactly right without all that sonic atmosphere.

To really convey the vibe precisely, you would need two bass players, and someone playing castanets, and a way to create that pitch wobble on the lead guitar and the organ, and on and on.

Danger Mouse used samples of the White Album recording to make a new backing track for “What More Can I Say” by Jay-Z on his mashup classic The Grey Album – it's an excitingly fresh approach to these holy relics of rock and roll. There are steep legal obstacles to sampling and remixing the Beatles, but I don’t know of a better way to engage creatively with their sounds.

GC has an ace in the hole, though, as much of the gear that’s discounted is exclusive to Guitar Center, which means you can’t get it anywhere else. That means not only are you getting a great deal, but you’re potentially getting something that not many other people will have, helping you stand out on stage, in the practice room, and in the studio.

The first model I want to shout out is the stunning Epiphone Les Paul Custom Quilt in Ocean Blue. This is a classy and pretty unusual guitar, but thankfully it plays and sounds as good as it looks! You can save $150 at Guitar Center right now.

Next is the striking Gretsch, with a $70 reduction, and its midnight blue finish with gold hardware makes it a real head-turner. Dual Filter’Tron pickups are perfect for rock and roll guitar playing, while the treble bleed circuit ensures you can roll off the volume and still retain the clarity. Add in a Bigsby tremolo, and you’ve got yourself one amazing guitar for a lot less.

Next is a favourite here at MusicRadar, the Alesis Nitro Max electronic drum kit. It’s got a not-insignificant discount of $50 at the moment, bringing the price just below the $400 mark, which is excellent value for money.

Next up, I spied a nice discount on a JBL 306P MkII studio monitor. We reviewed the 5-inch version and found it to be a fantastic-sounding monitor for the money. A $50 discount takes the price down to just $199 each.

Finally, for those looking to start playing piano with the new school year, the Casio CDP-S110 has $70 off. The weighted keyboard offers a realistic, grand piano-style response, with a responsive touch that lets you express yourself.

Now, obviously, there's a lot more on offer in this sale, so I highly recommend browsing the entire offering. You have until September 9 to get involved.

The Yamaha C3 grand is one of a number of Freddie-related items once owned by Reinhold Mack which the producer (who turns 77 today) is selling. The piano was played on the Hot Space, The Game and The Works albums, as well as by a list of not-insignificant artists including Bryan Ferry, the Rolling Stones, Leonard Cohen and Led Zeppelin. Its pre-sale estimate is somewhere between £200,000 and £400,000.

If that’s a bit beyond your budget, then how about an AKG C414 EB mic that Mercury used and which can be seen in the video to One Vision? That could set you back anywhere between £40,000 and £80,000.

Both of these fell into Mack's possession after his years working at Munich’s Musicland studios. Originally set up by Giorgio Moroder, Musicland birthed a number of classic albums – Donna Summer’s I Remember Yesterday, ELO’s Out Of The Blue and Black And Blue by the Rolling Stones, to name just a few.]

Queen were particularly fond of the facility, and struck up a close relationship with the in-house engineer. Freddie was godfather to Mack’s son, named Freddie Junior. He was also namechecked on Dragon Attack, a Brian May-written track on 1980’s The Game (‘gonna use my stack/ it’s gotta be Mack’).

The auction also includes a number of personal mementoes that the late singer gave Mack. There are handwritten lyrics to the songs My Love Is Dangerous and Let’s Turn It On, from Mercury’s 1985 solo debut, Mr Bad Guy. These are expected to fetch between £1,500 and £6,000. Rather touchingly, there’s also a teddy bear that Freddie presumably gifted to his godson that is estimated to fetch between £800 and £1,600.

In a statement, Mack has said: “Freddie was not only a colleague and close friend; in many ways, he was part of our family. Away from the countless hours we spent creating music together at Musicland Studios, our home in Munich became a place where he could escape the pressures of fame, relax and simply be himself. To us, he was never a celebrity; he was ‘Uncle Freddie’ - spending time with his godson Freddie Jr, playing table tennis with Julian and celebrating family birthdays with us.

“We have carefully preserved these items for decades, not because of their value, but because of the memories they hold. We now feel the time has come for others to enjoy and appreciate them, and we hope they offer fans a connection not only to Freddie’s extraordinary artistry, but also to the warm, funny and kind-hearted man we were privileged to know.”

Propstore are hosting the auction, which takes place on 1 and 2 October. Auction registration is now open with the full catalogue available to look at on the Propstore website. Alternatively, you can see the items at a free exhibition at The Cumberland Hotel in London from 23 to 27 September.

All come in purple-and-black cosmic swirl, with silver details and commemorative badging, and for players who thought the hand-wired 1969 JMH Super Lead tube amp head launched in May was maybe too much of a fire-breather in this day and age, the more moderately powered 20-watt Hendrix 60th Anniversary JMH Studio Edition is a more portable – and more house-trainable – proposition.

A word of caution, though: 20-watts of tube power (a pair of EL34s do the grunt work under the hood) is still l-o-u-d, but this amp is switchable down to 5-watts.

This amp is all made at Marshall’s Bletchley factory, in the UK, and comes bundled with a matching 2x12 cab loaded with Celestion V12s, with both featuring a third eye badge. Another cool detail is the purple LED.

Elsewhere, it’s very much the Studio Vintage Plexi vibe we know and love – a downsized 1959SLP with two bridgeable channels, controls for Presence, Bass, Middle, Treble, High Treble and Normal.

Around the back you will find a series effects loop – hey, the originals did not have that – plus 16, 8 and 4-ohms speaker connections and a DI output, too.

You can check out how all this sounds in the demo video featuring Texan rock and blues guitar phenom Ally Venable above.

Janie Hendrix says it is incumbent on today’s generation of players to take the torch from her brother and reinvent the electric guitar their own way.

“Jimi was always searching for a sound that did not yet exist, pushing beyond what anyone thought an electric guitar could do,” she says. “Marshall gave him the power and freedom to turn those bold ideas into a sound the world had never heard before. Sixty years later, that connection between Jimi and Marshall still speaks to new generations of musicians who are pushing creative boundaries and searching for their own sound”

Also included in this release is a special edition Emberton III Bluetooth speaker and a set of foldable Royal V headphones.

These are available now direct from Marshall, priced £149 and £129 respectively, and from other retailers from September 9. The JMH Studio Bundle ships from September 9 and is priced £1,749. US prices TBC.

For more details head over to Marshall.

Operating at the intersection between electronic music, indie rock and pop music, British five-piece Hot Chip have built their career on tracks that balance undeniable hooks with an alluring strangeness.

That sound comes from the band's mix-and-match approach to songwriting, which combines synths and electronic instrumentation with guitars and acoustic drums, and sees band members regularly swapping roles in the studio and onstage.

But, as band members Al Doyle, Joe Goddard and Alexis Taylor explained to us when we visited them in their east London studio, in the band’s early days that approach often meant working around technical limitations.

“When we made our earlier albums, Joe was always trying to capture what was happening when everyone was playing, but it didn't always work,” Doyle says. “We just didn't have the setup to be able to do that. But the instinct was always there to try. Part of the reason for building this place originally was to make that whole process easy.”

Much of the band’s first few albums – Coming On Strong, The Warning and Made In The Dark – were started in Goddard’s home studio. Although to hear Goddard describe it, the word ‘studio’ might be overselling it a little.

“The computer and a small amount of gear was just next to my bed,” he says. “There was a kind of spaghetti of black cables all over the floor, which traumatised my wife and still does.”

In the years since, the band’s studio setup has been upgraded significantly. The band now primarily work out of a London studio primarily set up by Doyle. With multiple rooms, an envy-inducing collection of vintage synths and a Trident TSM desk at its centre, the studio allows the band to write tracks in a more collaborative manner.

“Because we’re in this studio that Al built, we have space to make things very readily from scratch,” Taylor says. “There may still be times where somebody brings an idea they’ve written in to play to the rest of the band, but there are also times with the new records we've been making where everything is just happening in real time. We’re improvising things, trying things out.

“You make a beat on a drum machine and then somebody joins in on the keyboard, and another person simultaneously joins in on another keyboard over the other side of the room. Kind of just building up layers to see what the song could become.”

As Doyle explains, allowing multiple people to try out ideas simultaneously is one of the key benefits to the design of the studio space.

“In terms of how Hot Chip operates in this studio, that's why everything is basically plugged in all the time, because it means that there's no barrier to capturing a performance that's happening on any instrument in any space in here,” he says. “I think that came from that culture of trying to do that, even when we weren't quite able to do it.”

“The room allows you to be working on one thing in here collectively, but then there's also the drum room and the piano room through there,” Taylor continues. “Often I’ll run in there if I have a different idea for something. So you can kind of develop a second song while you're working on the first song. There are different spaces to try things out, and for some reason I think that's been quite key to the way we've always worked.

“Whether it's going into a different room or just stopping what you're doing and starting another thing, basically having a couple of things on the go in one day can mean that you have a breather from something. Then when you try a new idea, a second song, that could be quite exciting because you feel like you're making progress on a different thing. It gives you the space to then come back to the first idea with a fresh perspective on it.”

We took the opportunity to quiz Hot Chip on a few of their studio highlights. In the video above, Doyle, Goddard and Taylor talk us through some of their favourite synths, and why the Trident desk brings a distinctive vibe to the studio.

The band has recently reissued breakthrough albums The Warning, Made In The Dark and One Life Stand. Revisit our breakdown of the band’s classic track Ready For The Floor.

Right now, Guitar Center is slashing up to 25% off a bunch of studio equipment, but the real headline here is the jaw-dropping $170 discount on the Aston Origin condenser microphone. That brings the price down to a tiny $79!

I’m a big fan of the Origin even at its usual wallet-friendly price, but at $79, it’s honestly a no-brainer. I’d even be tempted to grab two and run them as a stereo pair.

So, if you’ve been on the fence about upgrading your mic locker, or just want a killer new sound for your studio, this is one of those rare times when hesitation could mean missing out.

For me, the Aston Origin isn’t just another entry-level condenser mic. This large-diaphragm, cardioid-pattern mic has earned a reputation for punching well above its price class. In our glowing in-depth review, we said, “Close up, the proximity effect doesn't get boomy and misbalanced; the low-end characteristic is pleasing, rendering the source with little tonal alteration beyond the basic physics of proximity. Vocals are a clear winner here, with plenty of scope for playing the mic from close-up intimacy to a more roomy distance without losing or altering the voice.”

The custom-finished, wave-form mesh head gives the microphone a boutique look, but it’s designed to handle knocks and bumps that would leave other mics bruised, or worse. Plus, Aston’s unique mesh acts as a built-in pop filter, so you can often skip the extra gear for controlling plosives.

MusicRadar’s resident recording expert Matt McCracken put the Origin to the test in a recent session, and here’s how he described the results: “I used the Aston Origin recently to record a Tweed Fender Blues Junior, on the edge-of-breakup with a healthy dollop of spring reverb. The Origin perfectly captured the lush, complex overtones of the metallic reverb wash,” says Matt.

“Paired with a dynamic mic, it nicely complemented the more direct tone with detailed room ambience, blending beautifully for an organic-sounding guitar tone that sat in the mix perfectly,” he continues.

The only issue Matt had with the microphone was the bulky shock mount, giving us this handy tip: “You have to do a lot of manoeuvring if you’re using it in close quarters with another mic. It’s fine on a single source like vocals, but a bit awkward when dual-micing a guitar cab.”

At $79, the Aston Origin is a steal, whether you’re a seasoned engineer or a bedroom producer looking to level up. Deals like this don’t come around often, so if you’ve been waiting for a sign to expand your mic collection, this is it.

Well, that’s the enticing prospect that awaits “four to six” unsigned South West-based artists in a new initiative the studio is launching with a bit of help from the Arts Council.

It’s called ‘amplified@rw’. The selected artists will be given a multi-day recording session with Real World’s in-house engineers, including full mixing and mastering.

The package also includes “mentoring from industry professionals covering publishing, rights, and release strategy” and all the lucky artists will be part of “an exclusive showcase event at Real World Studios in front of key music industry decision-makers.”

Real World says they are looking for applications from unsigned artists that are over 16 years old and are based in the South West, which means Gloucestershire, Wiltshire, Dorset, the Bristol and Bath area as well as Somerset, Devon, Cornwall and The Isle of Wight.

You don’t need a professional-sounding recording to enter, a rough recording, a phone note or a video will suffice. Any sort of genre is accepted. Indeed, Real World says it's “keen on attracting a diverse range of artists.”

“We’re searching for authenticity,” said Real World Head Engineer, Katie May. “It doesn’t need to be polished or perfect. We want to hear the spark of an idea, and that idea can be recorded on a phone or in a bedroom studio. Our goal is to find talent and provide the facilities and support to let them flourish in a way they wouldn't be able to otherwise.”

"This is an incredible opportunity for emerging talent," adds David Maher Roberts, General Manager of Real World. "By providing studio time, professional mixing and mastering, mentorship, and a showcase for these artists, we hope to support the growth of the South West's vibrant music scene.

"I am curious to hear the diverse range of music from the region and proud that the Real World team can help these artists take the next steps."

Real World is something of a South West institution. Founded in 1989 by Peter Gabriel in the Wiltshire village of Box, it’s become home to the Real World label and the WOMAD festival, which was also founded by Gabriel and has offices there.

Who’s recorded at Real World? Generations of artists from the UK and abroad, including Take That, New Order (Technique was one of the first albums to be cut there), Amy Winehouse, Bjork, Alicia Keys, Arctic Monkeys, Pixies, Harry Styles and Robert Plant, to name just a couple of handfuls.

If you fancy following in their footsteps, head over to www.realworldstudios.com/home/amplified.

The closing date is September 9 and the two recording blocks will be between October 26 and November 3 and November 16 – 19 this year.

If you've spent any time shopping for a keyboard or comparing instruments, you'll have noticed that not all of them have the same number of keys. So why are some keyboards bigger than others? And do you need that extra space? Here's a breakdown of what's going on.

The Standard: 88 Keys

Let’s start with the big guns. The full sized acoustic piano has 88 keys. That’s 52 white keys and 36 black keys and it’s been this way since the late 19th century when piano manufacturers gradually extended the range of earlier instruments to meet the demands of ever-more experimental composers and performers.

Those 88 keys span a full seven and a quarter octaves, from the lowest A at the bottom of the keyboard to the highest C at the top.

The vast majority of the canon of classical and contemporary piano repertoire sits comfortably within this range, which is why 88 keys became – and remains – the definitive standard, able to cope with anything a composer can throw at it.

The 88-note keyboard is essentially your ‘flight deck’ of controls, each key striking single or multiple physical strings with a force that’s directly proportional to the velocity and pressure you apply.

The result is an infinitely nuanced tone that both allows expert players to inject their personality, skill AND will show up newbies as the players-in-waiting that they are.

And let’s not forget each key’s weight and heft. Playing a good quality piano is a physical clash between a well-trained human musician versus a wood and metal machine that can weigh in excess of a hatchback.

Can’t afford the space but still want that feel? Don’t worry. These days there are countless 88-note MIDI controller keyboards that will go a considerable distance to delivering the touch, feel and weight expert players need, all within far more compact and home studio-friendly frames.

Eyes closed and fired up alongside a modern high-quality piano plug-in, most players would be hard-pushed to tell the difference between the modern approximation and the half-a-ton real thing.

Your choice all comes down to space, money and whether you need that DAW recording, arranging, composing flexibility at the end of the day.

Keyboardists and producers will appreciate the convenience and be willing to take a compromise on feel, while true ‘players’ will always prefer the full-on ebony and ivory real thing.

So why do some keyboards have fewer keys?

The short answer is, again, practicality, size, weight and cost. A full 88-key instrument is large and expensive to manufacture, so for many less militant players and purposes, a reduced keyboard is a perfectly reasonable compromise.

73-key ‘stage pianos’ are a great middle ground. There are plenty to choose from, from all the big names and six and a third octaves and handles the vast majority of piano repertoire without the full width of an 88-key instrument.

For gigging musicians who need something portable, a 73-key keyboard (there are also 76-key models too) with a professional playing action is often the sensible choice, offering great feel and a wide-range of authentic keyboard and string sounds on board.

And plugged into your DAW (try doing that with a concert grand…) it’s a luxury keybed for composing and programming with synths, drum machines and more.

Sure, 73- or 76-note weighted keyboards are sizey and still very ‘pro’ beasts but at least they CAN be put in the back of a car and taken to a gig.

The four/five octave sweet spot

Next step down the tree we have 61-key keyboards – a size and weight that has pretty much become THE de-facto standard for the modern keyboard.

This five octave size is extremely common across entry level, mid range and even pro synths and keyboards.

Five octaves is sufficient for beginners learning scales, chords and simpler pieces, and keeps the instrument compact and affordable. And it’s certainly wide enough for playing chord and lead two-handed parts with comfort and ease.

That said, you will start to notice the limitations if you progress to a more demanding repertoire. While pop and rock will fit easily onto 61 keys, you’ll find yourself running out of notes on classical and jazz pieces written for the full piano, making exciting use of those extreme upper or lower registers.

And you can forget any piano-style weighting or real/fake ivory feel here.

Five octave keyboards are strictly ‘synth-action’, often being able to read and express key velocity and pressure, but lacking any of the feel of a ‘real’ piano (or clever ‘weighted’ approximation). Sure, you can get good synth action five octave keyboards and bad ones too, but none are as good as a properly weighted, larger alternative.

49 keys (aka four octaves) meanwhile, is becoming the standard for hardware DAW controllers. That is, ‘soundless’ controller keyboards, typically aimed at producers and studio musicians rather than pianists.

These compact instruments are designed primarily for programming and MIDI control rather than traditional playing and as such WILL usually allow the recording of velocity but will also more usually lack pressure (or aftertouch) feel.

As for any kind of piano weighting… Forget it.

Want to go even smaller?

Take your pick! There’s countless options right down to those that feature mini keys for extra portability and even flat key octave-and-a-half controllers specifically made to be used alongside your laptop on the move.

Just remember, the smaller the keyboard the less authentically ‘playable’ it’s going to be.

Want to get notes out of your head and into your DAW. Fine. Want to jam and solo with a band? Maybe you need something larger…

Does size matter?

For an intermediate player, yes, it can. If you're working through piano grades, playing classical repertoire or serious pop and jazz arrangements, you'll increasingly encounter pieces that venture beyond the range of that popular, standard 61 key instrument.

As a general rule, if you're considering yourself as a player (rather than a producer or programmer) then 73 keys is the practical minimum for you. And weighted keys to replicate the feel of an acoustic piano is a vital ingredient in order to develop a ‘proper’ technique and ability to express ‘feel’ that you can actually hear and – in time – make your own.

88 keys is always preferable if space and budget allow and you’ll often find that the weighted action on such ‘piano controllers’ is even better. Full sized weighted or ‘hammer action’ keys behave much more like an acoustic piano than unweighted synth action keys. If you're developing as a pianist rather than a keyboard player, weighted keys on a full 88 key instrument is the combination worth aiming for.

Synth player and/or programmer/producer? Start here:

Not so fussed by style and feel? Want to sound great fast? A 61-note synth would be perfect for you.

Just starting out with a laptop and a DAW? Try a 49-note controller keyboard.

Making music on the move? Grab any of the many knob-and-slider equipped 37-note or less controllers from the likes of M-Audio, Arturia, Native Instruments and more.

One thing is for certain. Once you stop drawing notes on screen and start physically interacting with them via a music keyboard, you never go back.

Now go choose your weapon!

We'll give you a good head start with our pick of the current best keyboards on the market.

Suno is launching a vinyl pressing and shipping service that will give users the ability to order a one-off 12-inch record with a custom-designed sleeve.

The process, it seems, will be a three-step one. First, you select the tracks you want on the record from your own personal Suno library. The maximum running time for these is apparently 46 minutes.

Then you upload your chosen artwork for both the front and back of the sleeve, as well as the labels. Once the finished record is pressed and passes through quality control, you’ll receive your own disc on polyethylene terephthalate glycol vinyl, which Suno are claiming is “eco friendly”.

The price, according to the platform, is just $45 excluding shipping, which seems pretty competitive for a one-off, considering that mass-produced vinyl by established artists is around that mark in 2026.

It’s not clear from the Suno website whether you’ll be able to press tracks that are in your Suno library that aren’t generated via the AI platform. However, you could fill your record with stems, beats and drum breaks, resample them and chop them up without the need to clear samples. If you so wished.

Of course, should any bedroom producers use this service and then go on to find success on a wider scale, their one-off pieces of Suno vinyl will go on to become very valuable indeed.

For more information head over to the Suno website here.

Novation’s Launch Control series first appeared in 2013, and 2026 brings us the third generation, mirroring the revisions made to the recently-updated Launch Control XL. Ironically, given the name, neither of these units have dedicated ‘launch’ features any more – the pads from earlier versions have disappeared, which is a shame because they were useful. Along with the cosmetic update, the LC3, as we’ll call it from now on, promises improved DAW integration on one hand, and customisation on the other.

The controller arrives in a simple recycled cardboard box (and in keeping with that, the LC3 chassis is made from 85% recycled materials), and the contents are equally straightforward – the LC3, and a 1.5m USB-C to USB-A cable. Your purchase includes a software bundle that includes Ableton Live Lite, Cubase LE, and plugins from Baby Audio, Kievgrand and Output.

Products like this are rather mysterious when powered down; monolithic black shapes with dark-toned controls, and plain white text – the device needs to be powered up before things make more sense. The upper panel includes a 128 x 64 monochrome OLED display at the top left, two rows of eight endless knobs each, with indicator lights under each one, and 15 buttons in all.

Connections are located at the back, with, from left to right, a USB-C port, MIDI Out/Thru, MIDI Out, and MIDI In, all on full-size DIN plugs, and a Kensington lock slot. It’s very rewarding to see full-size MIDI connections making a comeback here, and improving our chances of adapter-free communication with other equipment.

Performance

We connected to a MacBook Pro via USB and used Novation’s Components application to check for firmware updates. Our tests began with Ableton Live 12, and configuration was as easy as could be, with the words ‘Live 12’ popping up on the OLED. The Mode/Function buttons flip between DAW Mixer mode, where knobs take over pan and volume, and DAW Control mode. The lower buttons can be used for tasks such as mute, solo, and arm, while the Page buttons cycle through banks of controls in familiar Live control style, and the Track buttons, naturally, navigate through tracks.

We then installed Novation’s Logic Pro script and enjoyed the same degree of control as with Live (other DAWs are supported, including Bitwig, FL Studio, Cubase, and anything that supports HUI). Furthermore, the LC3 has seven custom mode slots, which can be uploaded from the Components software.

We used the provided modes for Novation’s Circuit Tracks hardware, powering the LC3 via USB, with a MIDI cable connecting the devices. It was an excellent way to expand physical control for the Circuit’s onboard synths – we achieved similar benefits with Akai Pro’s MPC One+. Other templates are provided for products from Novation, Elektron, Arturia, GForce, and Xfer’s Serum, and it’s important to remember the level of customisation available, so if your gear isn’t represented, simply upload your own template, containing your chosen MIDI messages, and even keyboard shortcuts (very useful for DAW control). You could use the LC3 with iPadOS/iOS in the same way.

We would have preferred touch-sensitive knobs, MPC-style, so we could instantly see the assigned parameter; this would be a real workflow boost. Also, we would have loved a side-mounted USB port so we could more easily butt the LC3 up against other hardware, including Novation’s own Launchpad Pro, and the computer itself, a placement currently blocked by the protruding cable at the top.

And – our final question, something we’ve seen mentioned online – it looks like there’s room for another row of knobs or buttons, maybe even pads. Could be there’s a good explanation for how it is, but it feels like valuable space is being wasted.

Verdict

Those quibbles aside, taken for what it is, we enjoyed our time with the LC3. The DAW and other modes work well, and we appreciated the compact size. Other compact controllers are available, at various price points, but the Launch Control continues to strike a balance between features, size and price.

Hands-on demos

Novation

Alternatives

Specifications

The words “field recording” and “four-track” elicit a fair few associated words, but it’s highly likely that the first one to come to mind is “Tascam”. The Japanese audio brand has been there on the ground floor of every new technological moment, ready with a suite of user-friendly recording devices to launch a thousand bands.

Tascam’s reel-to-reels were amongst the first recording devices to bridge the gap between studio and musician. Its four-track Portastudio cassette recorders were definitive home-recording fare, and are still sought-after today for their inspiringly limited features and sonic capabilities. Tascam’s digital field recorders are similarly definitive, for capturing a nascent market as a flagship standard. Which brings us to now, and to the Tascam DR-40XP.

The Tascam DR-40XP is the brand’s new flagship for handheld field recording, part of a range that takes some very familiar field-recorder designs and imbues them with the foolproof majesty that is 32-bit float recording. It’s a direct sequel to the DR-40X, keeping much of the same form and features, but with some vital future-friendly upgrades.

First, the basics. The DR-40XP is a four-track field recorder in sheep’s clothing, possessing a pair of on-board cardioid condenser mic capsules and two TRS/XLR combo mic/line inputs. The on-board mic capsules can be toggled between XY or AB configuration, for focused capture or a broad stereo field; the combo inputs are phantom-powered for favourable communication with any mic from your own cabinet.

The DR-40XP iterates on the DR-40X by adding the aforementioned 32-bit float recording capability up to 96kHz, but it goes further too. It adds Tascam’s proprietary HDDA (High Definition Discrete Architecture) mic preamps, with an EIN (Equivalent Input Noise) of less than -126dBu; it adds a more RF-resilient on-board mic design; and it adds USB-C connectivity – a welcome graduation from the micro-USB standard that held on for a few years too long.

That USB-C port isn’t just for delivering power or data, either. Like the DR-40X before it, the DR-40XP also works as a 2-in/2-out audio interface, with either the on-board microphones or the external inputs as your source. If you’re not running the DR-40XP on USB-C bus power, you’re running it using three AA batteries – which, in the right atmospheric conditions, will offer up to 30 hours of on-time.

And in that on-time, the DR-40XP will handily show up for practically any recording undertaking you have in mind. The on-board mics can handle a high SPL, which, combined with its 32-bit float capabilities, makes the DR-40XP suitable for practically any sound capture. Not only that, but an on-board tuner and six-preset reverb modifier mean you’re set for live performances or location-based multitracking. Throw in the overdub and file bounce features, and you’ve got a mini mobile studio on your hands.

Performance

For starters, the DR-40XP feels reliable in-hand. It’s a moderately dense bit of handheld kit, and reassuringly solid despite its all-plastic chassis and connection ports. The metal bars protecting the mic capsules are another reassuring touch; it could certainly handle an accidental drop or three. The tactile experience is a good one, too, with responsive clicky buttons in front of every user input.

My first attempt at using the DR-40XP in the wild was thwarted by a wrongly formatted microSD card from another of my devices. These are minuscule grumbles, made larger by already being outside and by the sad omission of a complementary microSD card in the first place.

Now, not testing before departure was my fault entirely, besides which Tascam doesn’t necessarily owe anyone free storage, and data storage has of course gotten more expensive lately. Still, it’s a modern convenience we’ve come accustomed to from other brands and products; a modicum of on-board storage for emergencies would be a nice feature indeed; and, curmudgeon that I am, I want my 90 minutes of pointless traipsing back. Devoting over a hundred words to a problem of my own making might seem a bit ridiculous, but I assure you there’s a good reason: namely, that it’s almost all I have to complain about.

Once up and running, the Tascam DR-40XP is a dream to use, and capable of capturing some magnificent audio. Even without acknowledging the freedom to use whatever mics or inputs you want, the on-board microphone array is a real wonder – a world apart from the noisier capsules of older field recorders, and easily a new standard for mobile audio captures. The HDDA preamps are impossibly quiet, too. All told, it’s an uneasy feeling, getting professional-grade field recordings just from wandering outside with the DR-40XP and a camera tripod.

Navigating the on-board menus seems like it should be more difficult than it is, a precedent set by early digital recorders with dense and impregnable user interfaces. The DR-40XP, with its ergonomic button layout and well-signposted utilities, is a simple thing with multitudes beneath. Also, a small change that’s huge enough for me: the DR-40XP has added one-press recording at long last, its lack being the only tactile bugbear I’ve had with Tascam field recorders past.

At home, I tried out the DR-40XP in its ancillary function as an audio interface. In this mode, it’s limited to 24-bit/48kHz at maximum – a small shame for those hoping to twin that bottomless dynamic range with a hard-wired DAW setup, but functionally no problem at all. Just with it sat on my desk, pointed vaguely towards the 12^th fret of my acoustic guitar with the mics in XY configuration, I got a stunningly natural, bell-clear sound. It’s effortless stuff. Remarkable, even.

I did, briefly, have some issues with getting computer audio back out through the device’s headphone output, a problem I narrowed down to a driver issue. A reinstall, and a reboot of both computer and field recorder, and full functionality was there. Seamless. A breeze. And for what it’s worth, that monitor output is clear, full and transparent in exactly the way you’d hope.

Verdict

The DR-40XP is, in my opinion, the new standard for all portable field recorders. The feature-set is outsized for the form, meaning more freedom to do more with it – with less than ever. It’s built well, it’s supremely user-friendly, and its results are, in a word, pristine. It might reach a little above some budgets accordingly, but as a versatile box for recording setups big and small, it can’t be beat.

MusicRadar verdict: The Tascam DR-40XP is a phenomenal four-track field recorder, with high-fidelity recording thanks to some excellent on-board microphones and some even more excellent built-in HDDA preamps. It’s everything anyone could need in a handheld recording device, and it’s good at it all too.

Audio examples

Also consider

Hands-on demos

Tascam Official

Specs

• Microphones: stereo cardioid condenser capsules, XY/AB configurable
• Inputs: x2 TRS/XLR mic/line
• Outputs: 3.5mm TRS headphone, USB-C
• Phantom power: 24/48V
• Recording formats: WAV/BWF, MP3
• Recording fidelity: 16-bit/24-bit/32-bit float, 44.1/48/96kHz
• Recording media: microSD, microSDHC, microSDXC (up to 512GB)
• No. of channels: x2 stereo input tracks, x4 recording tracks
• EIN (equivalent input noise, mic preamp): ≤–126dBu
• Dynamic range: ≥112dB
• Display: Backlit LCD
• Power requirements: x3 AA batteries; USB-C bus power; AC adapter (sold separately)
• Battery life: 30 hours
• Dimensions (WHD): 70 mm × 155 mm × 35 mm
• Weight: 282g (with batteries)
• Contact: Tascam

Tascam’s a tried and tested brand in the field recorder space. It’s a frequent flier in our guides to the best field recorders, a brand that fields fierce competition in just about every price bracket, and the source of some of music’s most iconic recording devices (looking at you, Portastudio).

In previous products, Tascam’s already flirted with the audio-visual market, but the new FR-AV series goes all-in. This is the FR-AV4 – a brand-new four-track field recorder, designed as a compact and high-performance device for location recording, and as a compellingly seamless addition to audio-visual shoots.

The FR-AV4 is the second and largest in the FR-AV series, which takes some cues from camera-friendly Tascam recorders past, but also takes things in a maximalist – and thrillingly pint-sized – new direction. The FR-AV4 boasts 32-bit float recording at up to 192kHz, built-in timecode generation and HDMI sync, in a form factor so slim you could probably post two through someone’s letterbox.

The four tracks in the FR-AV4 are serviced by four combo XLR/TRS inputs, each of which is furnished with individually toggleable 24/48V phantom power, and Tascam’s own Ultra HDDA preamp design – which offers a wide gain range and an impressively low noise floor too. Inputs three and four can be superseded by a separate stereo 3.5mm input, for receiving audio from another camera or external device. There’s 3.5mm TRS ins and outs for the FR-AV4’s built-in timecode generator, and, handiest of all, a pair of HDMI ports that cover a great deal of clever business.

For one, connecting a camera via the FR-AV4’s HDMI port allows audio and video to sync, as well as enabling the camera to control record start/stop. With a monitor recorder plugged in at the other end too, via the FR-AV4’s HDMI out, 4K/8K video can be passed through with the FR-AV4’s audio embedded (and with the camera’s own audio, too, if you like). Game-changing simplicity for small rigs! Finally, the HDMI ports can also be used to daisy-chain multiple FR-AV4s, for virtually limitless extra tracks, all synced, and all slaved to the record button on the first in the chain.

There’s clever digital business going on inside the FR-AV4 too. It’s a high-fidelity field recorder, capable of recording up to 32-bit/192kHz audio. The dynamic range of 32-bit float trivialises gain-staging and, coupled with the four XLR inputs, makes this a potent partner for sound design and literal, bona fide field recording.

Each channel in the FR-AV4 gets some sound-sculpting tools too, including a four-band EQ, limiter and noise gate. All of this, in something roughly sandwich-sized – and powered by four AA batteries, or 5V bus-power from the USB-C port. Which is also a conduit for the FR-AV4’s second life as a six-in/two-out audio interface. It works hard for its price point.

Performance

As a musician with little professional experience shooting video, and being that I’m reviewing this field recorder for a publication with Music in the title, I’m actually not touching any of the Tascam FR-AV4’s AV-friendly features. I’ll leave the evaluation of anything video-like to other, more video-y people, and focus instead on its core multitrack field-recording functionality, which is excellent.

My first session with the Tascam FR-AV4 was to capture the ambient sound of an industrial passageway in the same building as my studio space; I wanted to experiment with quadraphonics, capture some spooky atmospheric sounds, and grab an impulse response for that spooky, atmospheric industrial-passageway reverb. Setting up for this was a dream, and a healthy portent of sessions to come.

The FR-AV4 has two embedded screw holes for camera tripods, on the top and bottom, so you can mount it any which way you choose. Getting it situated, connected to my four pencil condenser mics and ready to record was a matter of minutes – which, looking at the front panel for the first time (and not having looked at the manual at all), was far quicker than I expected.

Navigating the FR-AV4 is actually extremely intuitive, if a little tedious when you want a setting quite deep in the multi-page menu. Thankfully, almost everything I wanted to adjust was only a couple screens away, and I instinctively found it with ease.

As well as the big-picture cool stuff on display with the FR-AV4 – the per-channel EQs, the limiters, the ambisonics decode function in the menu that Tascam don’t even mention on their product page – there’s also a number of small, user-friendly touches that demonstrate a real thoughtfulness on the part of Tascam’s engineers. My favourite is that you can easily group multiple tracks to a single gain control, allowing you to keep your relative levels while broadly adjusting the whole mix.

The only place where the thoughtfulness outstrips its returns is with the screen, which is a touchscreen, but also far too small to reliably use without fat-fingering the odd input. Still, in places, using the screen is a small and welcome time-saver.

As for the results: I was blown away, in the most boring of ways. I recorded at 32-bit float/192kHz, and captured everything. The cold, sustained quality of the passage in three dimensions; the soft hum of air conditioning units some hundred metres away; birdsong and children played in the neighbourhood past the car park; even the band rehearsing in the studio below. I messed around with gain settings, and, predictably, could not create a situation with poor results. The audio is clean, clear and uncoloured; a reliably professional standard.

As a USB audio interface, the FR-AV4 is almost as seamless to use. Being able to run it in 32-bit float is a welcome feature, and one which is conspicuously absent from Tascam’s new entrants in its DR-X series. A tiny bit of menu-diving and you can manage all the FR-AV4’s functions in-unit, including a handy SD card browser and exporter.

If I were the type to nit-pick, I’d throw a minuscule amount of shade at the placement of the USB-C port. It’s on the left-hand side, close as can be to the front face – and in front of all the I/O accordingly. It might be easy to access on location, but when transferring files or using the FR-AV4 as an audio interface, the trailing USB-C wire only gets in the way.

A broader nit-pick would be that Bluetooth monitoring and timecode sync – a key feature in Tascam’s eyes – is locked behind the purchase of a separate Bluetooth adapter. I’m generally not a fan of paywalling core features, particularly when this paywall seems a bit arbitrary (£47/$61 for the necessary Tascam AK-BT2 adapter). Still, I ultimately consider these nit-picks small for a small four-track with big features.

Verdict

It’s safe to say that I’m a big fan of the Tascam FR-AV4. It’s trivialised multitrack recording in the field in a number of ways, most impressively through its diminutive form factor. Seriously, it will probably fit in your coat pocket.

There’s so much more to this device than covered in this review that makes it a compelling buy for multimedia creators at any level – though the £699/$999 cost will naturally give some pause for thought. I think the price is actually quite justifiable, given its outsized feature set and sheer practical utility.

MusicRadar verdict: The Tascam FR-AV4 is a four-track field recorder with its gaze levelled squarely at the audio-visual world. It’s a multimedia darling, with HDMI pass-through, sync and audio embedding – but for me, the real smarts are in the audio. High-fidelity multitrack recording through phantom-powered XLR ins and whisper-quiet discrete preamps, all in a box the size of your lunchtime sandwich? Genius.

Audio examples

Also consider

Hands-on demos

Tascam Official

Specs

• Inputs: x4 TRS/XLR mic/line; x1 3.5mm TRS line/camera; x1 HDMI-A; x1 3.5mm TRS timecode input
• Outputs: x1 3.5mm TRS line/camera/timecode; x1 3.5mm TRS headphone; x1 HDMI-A; x1 USB-C
• Phantom power: 24/48V
• Recording formats: WAV/BWF, MP3
• Recording fidelity: 16-bit/24-bit/32-bit float, 48/96/192kHz
• Recording media: SD/SDHC/SDXC (up to 512GB)
• No. of channels: x4 input tracks, x6 recording tracks (inputs + stereo mix)
• EIN (equivalent input noise, mic preamp): ≤–127dBu
• Dynamic range: ≥133dB (inputs 1-4)
• Display: 1.9-inch (4.8 cm) LCD touchscreen
• Power requirements: x4 AA batteries; USB-C bus power; AC adapter (sold separately)
• Battery life: 17 hours
• Dimensions (WHD): 184 mm × 42 mm × 130 mm
• Weight: 756 g (including batteries)
• Contact: Tascam

According to the Japanese audio brand, "this exclusive collaboration unites Technics' signature audiophile engineering with one of music's most iconic legacies," in a joint project designed to "deliver every note as intended".

The new Technics EAH-AZ100 wireless earbuds feature the band's legendary red Lips & Tongue logo on the rubber case, while the earbuds themselves are built for exceptional clarity across the full frequency range, and include new technology like a Magnetic Fluid Driver – supposedly the first of its kind in the industry.

The product enters the market two weeks after the release of the Rolling Stones' new album, which debuted at number one in the UK. It became the group's 15th chart-topping album, and their third consecutive number one LP after 2023's Hackney Diamonds and 2016's Blue & Lonesome.

Mick Jagger recently opened up about his experiences recording Foreign Tongues, explaining how producer Andrew Watt pushed them to use tape for Chuck Berry cover Beautiful Delilah.

"I said, ‘What does it matter? If someone listens to it on their phone, they don’t know it was cut on tape — it doesn’t make any difference,'" Jagger said. "[But] we cut it on tape and we did it live. That was old style."

Only a limited number of people will be able to experience the new record via Technics' new earbud collaboration, with just 5,000 units available to customers. And compared to other wireless earbuds on the market, they're not cheap: the EAH-AZ100 is currently available via Technics , Amazon and through Bravado for $299/£259.

The project sets out a unified approach to voluntary track labelling, with a distinction between 'AI-generated' and 'AI-assisted' labels, which will be used across digital music services and other partners.

This announcement comes after the revelation in April that a concerning 44% of all new music uploaded to the streaming service Deezer is AI slop. Meanwhile, Apple Music has confirmed that over a third of its uploads are 100% AI.

This move from record industry professionals is all about attempting to combat this significant shift.

“Fans want to know whether and how generative AI has been used in the music to which they listen," said Vikki Oakley, IFPI CEO and Mitch Glazier, RIAA Chairman & CEO, in a joint statement.

They continued: "Given how important human artistry and authenticity is to music lovers all over the world, these labels will provide an immediately understandable and easily scalable approach to transparency. We acknowledge the many ways AI is being used creatively, so we expect to offer fans additional information as adoption of generative AI labeling grows and technology evolves."

According to Noemí Planas, CEO of WIN (Worldwide Independent Network), “For artists and fans around the world, true connections and trust are everything. Clear labeling of AI-generated content is central to this: it gives fans the transparency they deserve and supports the human-centered, safety-first approach that the global independent community has championed through the WIN Principles for Generative AI."

Amid widespread controversy regarding anonymous AI-driven artists such as The Velvet Sundown, those behind the program will hope it can begin to clear up confusion about the origins of recorded music.

“As AI continues to be integrated into the creative process, artists and fans alike deserve a clear way to communicate how and when it’s being used," said Harvey Mason Jr., CEO of The Grammys. "This initiative ensures that creativity, authorship, and artistic intent remain at the center of every song. Giving artists the ability to tell that story strengthens trust and supports a more sustainable future for music.”

The issue was raised when producer Andrew Watt suggested going analogue for one song in particular – a cover of an old Chuck Berry record. “We haven’t used tape for ages, but Andy wanted to use tape for Beautiful Delilah,” Jagger tells Billboard. “I said, ‘What does it matter? If someone listens to it on their phone, they don’t know it was cut on tape — it doesn’t make any difference.’”

Watt got his way, though: “We cut it on tape and we did it live,” says Jagger. “That was old style.”

Jagger’s fellow Stone Ronnie Wood also had a few words to say about Watt, all of which were complimentary. “He’s a great guitarist. He can play my parts better than I can,” he quipped.

Elsewhere, Jagger raised the possibility of the Stones releasing more music that features Charlie Watts, their late drummer. “We had a good track with Charlie [Hit Me in the Head, which is featured on Foreign Tongues] and we’ve got other tracks with Charlie. I keep reading this is Charlie’s final appearance – well, we’ve got other tracks with Charlie.”

Jagger also offered his thoughts on Gen-Z superstar Olivia Rodrigo, an artist who’s already received great notices from many of his peers. He was asked specifically about Rodrigo’s ability to make rock music, a genre that she’s explored extensively across her three-album discography.

“She’s really good at it,” he says. “Everyone thought she was a different kind of singer, but there’s quite a few female singers that have made that transition. It’s not a permanent transition necessarily, but the ability to change styles from what you think their original girly pop stuff is – it’s kind of interesting.”

To be fair to Rodrigo, she hasn’t so much ‘transitioned’ to a rock sound as specialised in it. Yes, her breakthrough hit (Drivers License) was a ballad, but right from the outset, she’s married heavy guitars to her pop sensibilities, and shared the stage with the likes of Weezer, No Doubt, David Byrne, Sheryl Crow and Billy Joel.

She’s also performed and recorded with The Cure’s Robert Smith, and has spoken of being a huge White Stripes fan when she was growing up (and yes: Jack White is a friend of hers, too).

Monitoring is often a contentious subject. It gets easier with more gigging experience as we learn to set our gear properly and communicate what we need from our bandmates and sound engineers. The ultimate in control is having an in-ear monitoring set up that allows us to independently tweak our own mix without having to worry about getting in anybody's way.

It’s a different world from that of floor wedges, and one that doesn’t suit all. However, the rise of silent stages, decibel meters and the use of backing tracks have changed how we monitor ourselves, instigating many a headache for musicians, with in-ears often being the most practical solution. Thankfully, getting started with budget in-ear monitors is more affordable than ever.

One such example of a low-cost entry into the world of in-ears is the Beyerdynamic DT 30 IE, which I have in my hands for review, coming in at a very reasonable $150.

To test them thoroughly, I figured I would take them to a real-world gig and see how they do. I’m not about to compromise the show, though, so if they are not up to scratch, they won't make it past soundcheck.

Specs

• Launch price: $150 | £99 | €119
• Type: In-ear monitors
• Origin: China
• Driver: Single 11m dynamic
• Connectivity: MMCX
• Frequency range: 5Hz to 20KHz
• Max SPL: 137dB
• Impedance: 18 Ohms
• Protection class: IP54
• Case: Yes
• Contact: Beyerdynamic

Build quality

Build quality rating: ★★★☆½

A glance at the specification will reveal a single 11mm dynamic driver. For anyone buying their first set of in-ear monitors, you will often see the driver count being pushed as an indicator of quality. The general implication being that more drivers equals better performance.

This is not necessarily true. While having multiple drivers that handle different parts of the frequency spectrum is beneficial in aiding clarity and general performance, this only works if those drivers are well-tuned and well-built.

A single, high-quality, well-tuned driver can outperform six cheaply put-together drivers. Most single-driver IEMs will be utilizing a dynamic driver, and that is what we see here. We’ll get into sounds later, but spoiler alert: this driver does a good job.

In the hands, both the cable and the buds feel a little bit plasticky, which is what I would expect at this price point. The important thing is that it feels solid enough that I’m not worrying about any fragility.

We have a mouldable section of cable at the tips that allows the cable to wrap and stay-put around the ears. It doesn't retain its shape as well as some only slightly more expensive models, but having it at all is still a plus. The cable is removable, and therefore replaceable should it break, and also sports a little bit of rubber strain-protection down by the 1/8” TRS jack, which will help with longevity.

The case is fabric wrapped around a harder interior. It will protect the headphones as they are chucked in and out of a gig bag, but flexes a bit when squeezed and takes a moment to return to its original shape, making it feel a little less than premium.

It is important to remember, however, that we are not paying high-end money. At this price point, the most pressing thing is that the product feels solid enough to last a significant number of gigs. In lieu of a long-term test, first impressions are that the DT 30 IE’s will.

Usability

Usability rating: ★★★★★

Headphones aren’t that complicated. The most annoying thing is getting those tips onto the earbud, but they slide on fairly easily and securely here. Beyerdynamic provides small, medium, and large tips in both silicone and foam form, which is standard and should fit most preferences.

To get the full bass response that the earphones are capable of, it is important to find a snug fit, so it's beneficial to experiment here to see which tip suits you best. Also provided are spare earwax guards, which is something we don’t always see, even in more expensive units.

If you are new to in-ears, Beyerdynamic has you covered with a concise leaflet that explains the process of assembly and maintenance in a beginner-friendly way.

Left and right connections are well indicated in color (red for right) and with the letters L and R on the MMCX connector themselves. This type of connector (in contrast to the two-pin alternative) allows the earpiece to rotate in place, which helps users find that important tight fit while also reducing stress on the cable.

Sounds

Sounds rating: ★★★★☆

As I mentioned earlier, I am testing the DT 30s in the format of a real-world gig, with the caveat that they need to be at least good enough to not compromise my experience of the show. To cut a long story short, I was more than happy to use them for the entire gig.

The low end is well represented, with both the kick drum and bass guitar coming through nicely. Mid frequencies are a similar story, and what results is a smooth sound that is easy to listen to without fatigue.

Where the DT30’s are left behind by my usual Shure 425s is in high-end clarity. This is important in gaining proper separation of instruments in a dense mix, and the DT30’s smooth nature means that things can get a little bit muddy in comparison.

However, I am speaking relatively here. The level of mud is far from problematic, as I am able to adjust my mix to compensate. You might struggle if you are in a big band with lots of instruments, but in a four-piece as I was, this is an issue that is easy to deal with after some proper mixing.

Pro tip: stereo mixes are a little more involved to set up, but totally worth it to facilitate panning in these circumstances. Some musicians don’t like to pan things in their in-ears; if this is you, it might be worth investing in something with a little more clarity.

It’s worth remembering that the aforementioned Shure 425s are, while relatively humble in the world of in-ears, twice the price of the DT30s. At this sort of budget, the DT30’s are hard to beat.

Verdict

While it is apparent that we are looking at an entry-level model here, the Beyerdynamic DT30 IE’s do a great job. They feel like they will last, are easy to use, and sound surprisingly good for a budget set of earphones.

While I would have preferred more clarity, when I was testing them, I was able to forget that they were not my usual set of in-ears and just enjoy the gig. So, if you are looking for your first set of in-ears, or a decent backup for a pro-level set, these are a good choice.

Music Radar verdict: The Beyerdynamic DT 30 IE’s perform admirably for a set of in-ears at this price point. Yes, you can tell that they are a budget set thanks to the slightly plasticky feel and a sound that could do with a bit more high-end clarity, but they boast a good bass response and a smooth overall tonality. They are perfect for someone who is looking to get started with in-ear monitoring, or for a seasoned gigger in the market for a backup.

Also try

Hands-on videos

Beyerdynamic

Fielding questions from Guardian readers in a new interview, he detailed how the process of collaborating with the legendary record producer and ex-Roxy Music synth player "changed over the years".

"I felt he was somebody who had a feeling and an understanding for what we were trying to do," Byrne said.

"At first, his goal was to capture what the band was doing. Once that was achieved, he brought ideas such as adding funny sounds, not having the songs all written – so we could improvise – and as he calls it, “using the studio as an instrument”."

He added: "It was fun and we got to things that we’d never have got to if we’d stuck to one way of working. As a producer, he’s very much a cheerleader. Rather than scratching his chin and saying, “I don’t know if this works yet”, he’ll go: “This could be the beginning of something incredible, let’s keep pushing in that direction.”

Eno worked on three landmark Talking Heads albums (More Songs About Buildings and Food, Fear of Music and Remain in Light) and famously helped devise the vocal melody for their classic song Once in a Lifetime.

In the interview, Byrne also commented on his interactions with other inspirational musicians like Ramones and Lou Reed. Of the latter, he said: "Lou had seen us in [New York City music club] CBGB a couple of times and said: “Come back to mine afterwards and we’ll talk about your songs.” We were really excited but nervous and in awe because we were big fans of his solo stuff and the Velvet Underground."

Byrne continued: "He proceeded to eat two quarts of the ice-cream he had in his fridge, but was creative as well. He started playing our song Tentative Decisions on guitar and suggested it could be slowed down, and slowed down to the speed of a Velvet Underground song. Which was pretty cool, but we didn’t slow it down as far as he suggested."

It's also this knack for creative insight that he valued most in Eno, who's widely renowned for the psychological impact he makes in studio environments, rather than pure technical ingenuity.

"Besides being a fifth band member on this record, Brian is a wonderful enthusiast," Byrne once said. "He sells the excitement and potential of working in a new way—the upside of stepping into the unknown, experimenting and seeing what might happen."

With pre-orders opening on July 9, the first 150 people to purchase the headphone will receive a limited Collector's Edition model, priced at a whopping £7,999 ($8,499).

As the cost indicates, this is one of the Japanese brand's most ambitious headphone projects ever. With a cutting-edge 40mm True Diamond diaphragm dynamic driver, the DX10000 CL is designed to enhance the closed-back listening experience with a focus on "isolation, impact and physical energy."

Final's previous DX model release was the DX6000 CL, which was praised for its comfort and warm sound. But the company sees this new flagship as a genuine upgrade.

"DX10000 CL is designed for listeners who want a private, immersive and physically engaging listening experience, with the clarity, tonal accuracy and resolution expected from a true flagship audiophile product," the company said.

Comfort and warmth remain central concerns on the latest edition, which uses Ultrasuede® for acoustic sealing and support and a 12-point through-bolt construction clamping the outer housing to the front plate. Final is aiming to elevate the listening experience here — if you've got the cash for it.

In addition, those willing to jump on the collector's release of the product will get a range of extra touches including gold-coloured accents, a newly-designed headphone stand, an authentic Japanese paulownia wood box and a Shingen pouch crafted using traditional silk textile techniques with roots in the Tango region of Kyoto.

All that being said, it's the use of lab-grown diamonds, developed using a chemical vapor deposition process, that reflects just how high-end this product is.

"Diamond is grown as a crystalline layer before the substrate is removed, leaving a self-supporting diamond dome," purrs Final's press release. "Diamond combines exceptional rigidity, high sound velocity and strong internal damping

"DX10000 CL has been created to deliver the isolation, impact and physical energy of closed-back listening, while overcoming the resonance and coloration that can limit the format."

Cubase really needs no introduction. It was the first computer-based sequencer to incorporate a graphical arrange window, and it even embraced hard-disk audio before many others. In recent years, it has settled into a steady pattern of yearly updates, and the latest of these is Cubase 15.

As before, it comes in three flavours, with the Pro version delivering the full feature set. As well as the main DAW software itself, you get a cut-down version of SpectraLayers (SpectraLayers Go) and, as usual, a big selection of sound content, virtual instruments and plugins. Steinberg’s aim is to make it a self-contained system without the recourse to third-party additions (though of course many users will have their own favourite additions).

The headline additions in Cubase 15 are the expanded modulator system, a new melodic mode for the pattern sequencer introduced last year, redesigned expression map functionality, stem separation, two new effects, the Omnivocal vocal synthesis engine (open beta), plus a bunch of workflow improvements and functional tweaks. Whilst it's fair to say that a quick glance at this list doesn't point to any game-changing new features, it does cover quite a bit of territory. Let's take a closer look.

Performance

The modulators introduced in Cubase 14 were one of its big new features, and something that the users who had experience with Ableton Live and Bitwig had been calling for.

The update expands on this with six new modulator types – Random Generator, Sample & Hold, Wavefold LFO, Crossfader, Attack/Decay and Morph LFO. Modulators are a great way to create tempo-synced effects (eg, filter sweeps), but the ability to chain them and incorporate more modulator types extends their use into more creative and experimental areas.

It's worth noting, though, that Cubase works on a per-track basis for the modulators. It would be nice to see a global modulator track that can be freely routed to multiple destinations.

The pattern editor introduced in Cubase 14 was primarily aimed at drum sequencing and at the time quite a few users hoped that a more versatile version that could work easily with melodic/musical patterns might be on the cards. Thankfully, we now have it in the form of the Melodic Pattern Sequencer. It is based on its rhythmic predecessor, but to address the melodic aspects of this type of sequencing, Steinberg has added interesting scale- and shape-generation features. This means that even with a few presses of the randomisation button, the results are likely to fit well within the context of your existing track. The more we played, the more fun we had, and although it's still quite basic, especially in pattern management and copy/paste features, this is a really nice addition.

There's no escaping AI right now, and those two letters seem to be assigned to all kinds of products at the moment. In Cubase 15, it's applied to the new stem separation feature, which can split any audio file into vocals, drums, bass, and other elements (ie, all the rest). It performs this directly from the project window, splitting tracks into separate layers. It's quick, works quite well, and is free; however, you'll find better results with specialised software solutions, including online options, where there is significant competition. In fact, explore a little further and you’ll discover that SpectraLayers Go, bundled with Cubase 15, can separate vocals from music and appears to do a superior job – at least on the tracks we tested.

The same goes for OmniVocal, although this time it is clearly labelled as a beta. It's certainly not going to compete with something like Dreamtonics Synthesiser V or Ace Studio in terms of its expressiveness, realism and flexibility, but once again comes as a free addition. Hopefully, as it develops, it will become a little bit more fluid to use, particularly when adding and editing lyrics. At the moment, it can be a bit of a slog to get the most realistic results.

Regarding new plugins, Ultra Shaper offers transient shaping, limiting, and EQ, making it a useful addition. The Pitch Shifter – as the name suggests – is designed for vocal processing and features formant-preservation and saturation modes. It's not particularly cutting-edge, but it works well, though primarily suited to mixdown rather than live processing due to its significant latency.

These and other stock plugins now support UI scaling (finally!), which is a real boon when using high-res displays. We only wish there were a way to apply a simple 2x scaling to older plugins (including some from Steinberg). This would be a simple, unfussy solution for navigating plugins that shrink to tiny proportions in some setups.

One interesting feature of the newly designed hub is Project Preview, which stores a small snippet of a track for quick listening before loading. This feature only works with newly saved projects that have it enabled (allowing you to customise which small, ie, 5-second segment, is previewed). Despite its simplicity, it is surprisingly useful, especially for those who do not employ a helpful naming scheme or work on multiple tracks at once. It's also worth noting that DAWproject support allows sessions to be shared with other compatible DAWs.

A small but significant arrival in Cubase 15 is the automation’s ‘Last Touched Parameter’ feature, which provides quick drawing/editing access to whichever knob or slider you've last moved for any given track. This is a real time-saver, as is the new ability to add volume or pan directly to the Track Controls Area (though we prefer the accuracy of a vertical fader). This is a nice way to tweak levels, and it will be a real time-saver for some.

Finally, Expression Maps have been redesigned. The setup process is now more streamlined, integration with the Key and Score Editors has improved, and per-articulation attack compensation aims to enhance the realism of orchestral mock-ups. For those with large orchestral sample libraries, especially those with compatible instruments that automatically import key switches, this will be warmly welcomed.

Verdict

This release introduces many features to boost your creativity and streamline your workflow, and it is a strong update overall. However, it might seem a bit underwhelming for some, and there is certainly some sentiment on Steinberg forums that the total on offer here doesn't quite justify the annual upgrade cost. Another perspective is to consider the £83 upgrade fee as roughly equivalent to a £7/month subscription. If it were a subscription, we would say it offers fair value for money.

Nonetheless, there are some areas we would like to see improved in the future. Key Command options could be expanded, and the Remote Editor could become more accessible. Fully featured API access, capable of integrating with AI tools (such as Claude and ChatGPT), would be a fantastic addition – possibly even a game-changer – for delivering long-awaited features. We’ve barely scratched the surface of what AI can do – not as a replacement for the composer or producer, but as a time-saving assistant, and it would be great to see Steinberg take a leading role in this.

Opening, closing and project loading times can be slow on more complex projects or setups with many plugins. It would be beneficial to see some optimisation in this area. We also hope attention is given to the comping functionality in Cubase, as there are ongoing frustrations about moving active comps to other tracks and a few other issues that cause difficulty when working with multiple live audio elements.

One of the challenges with a major DAW such as Cubase is that it must accommodate a wide range of users. For every person who finds the expression map functionality or notation capabilities particularly useful, there will be others demanding clip-based playback or improved AI generative tools. Steinberg has to carefully balance its approach to satisfy everyone. Overall, however, Cubase remains a fantastic piece of software that we are happy to continue using.

Hands-on demos

Cubase

Alternatives

Specifications

Warm Audio produces an impressive selection of vintage-inspired mics from full-on valve recreations, such as the WA-67, through to more affordable transformerless designs, such as the multipattern WA-87jr. Its most affordable designs are the Studio Essential models, which are available for both the WA-87jr and WA-47jr, and it’s the latter we have up for review.

Offering a more affordable but streamlined version of the WA-47jr, the WA-47jr SE is a vintage-inspired cardioid condenser. Featuring a large single backplate capsule, with gold-sputtered centre tapped diaphragm, the mic has a voicing based on the classic Neumann K47 capsule and FET-based circuitry inspired by Neumann’s U47 FET design. Available in both nickel and black finishes, the box includes the mic, a hard mount with thread converter and a storage pouch. There’s no flight case, but the padded retail box provides a good storage solution.

The transformerless phantom-powered design features a fully discrete signal path, utilising high-quality Wima film capacitors and Toshiba FETs. On the specification front, it offers excellent self-noise (9dBA) and good sensitivity (14mV/Pa). Importantly, and in line with what you’d expect from a FET U47 design, it also has high SPL handling (147dB maximum).

Meanwhile, in line with the streamlined remit, there are no on-body options such as a low-cut filter or a level pad. Finally, much like other Warm mics we’ve tested, the WA-47jr SE is manufactured in China, quality tested and checked at Warm’s Texas facility and comes with a 5-year warranty.

Performance

The WA-47jr SE build quality and finish are excellent, with good labelling and stylish yet minimal branding. At 52mm diameter and 212mm length, the mic has a reasonably slender profile and standard cylindrical shape, so it is not really based on a Neumann U47 shape. That said, the post-mounted capsule sits high in the headstock and slightly behind the grille framing, which is like the Neumann classic. At 647g, including the clip, it feels reassuringly solid and is easy to adjust and set up.

Neumann’s U47 FET is highly regarded as a more robust alternative to the valve version and is often preferred for high-SPL applications such as brass, bass guitar amps, and kick drums (typically outside, not inside). The capsule voicing features a presence boost of a few dB in the upper-mid frequencies, a further lift around 10kHz and a reasonably flat low-frequency response that tails off gently below about 250Hz.

The WA-47jr SE offers something similar, and first impressions are of a smooth mid to low-frequency response with some presence lift for the mid frequencies around 3-4kHz. The high-frequency air is not immediately obvious, and a quick look at the frequency response reveals a few dB of boost up to around 13kHz, which is slightly different to a U47. Nevertheless, if you’re looking for some kind of general comparison, the sonics are noticeably less hyped than a U87-style mic, for example.

The WA-47jr SE has a fixed cardioid pattern, which is reasonably focused, with obvious upper-frequency reduction from about 45 degrees off-axis onward. Meanwhile, the fully off-axis rejection, although not specified in detail on the chart, is good and will prove handy for directional use in the studio. Overall, the transition from on-axis to off-axis response is pretty smooth, making the mic easy to use for vocals or acoustic guitar, for example, which it captures really well.

In terms of high SPL uses, the WA-47jr SE performs well. We’d recommend a pop shield for vocal use; even so, the mic handles vocal plosives and other blast situations, such as kick drum sound holes, better than many large capsule condensers we’ve tried. All told, this makes for a very flexible mic.

Verdict

Maybe surprisingly, there are not that many options if you’re after an affordable mic inspired by the Neumann U47 FET. Warm’s WA-47 jr SE is not an exact copy (its own WA-47F fits that bill), but it certainly captures much of the original, including high-SPL handling and a smooth, unhyped frequency response. It’s a shame they couldn’t sneak in the low-cut filter, but overall, the WA-47jr SE still offers excellent value.

Hands-on demos

Warm Audio

Alternatives

Specifications

He had the audio engineering knowledge to capture all the dynamics in a band’s performance. He could give a snare hit a three-dimensional force, summon feedback out of thin air.

Albini’s ability to apply his analogue magic to the electric noise of a rock ’n’ roll band was exactly the reason why Nirvana hired him for In Utero. What better way to subvert the mainstream than to achieve mass appeal then drop a noise-rock record on an unsuspecting public? Who better to record it?

But the fact that bands returned to him time and time again spoke to the kind of relationship he struck up with them. He knew what they were looking for.

When Neurosis called on Albini in October 1998 to record the follow-up to the epic Through Silver In Blood, they soon realised that their widescreen sound – post-metal, atmospheric sludge, experimental metal or however you want to describe it – could be recorded just like a punk band would. Which was fitting, because this was where they came from, evolving out of the Oakland, CA hardcore and crust scene.

Joining MusicRadar over Zoom, guitarist/vocalist Steve Von Till recalls the band still being a little raw in the studio when they first met Albini.

“Well, when we were younger, we just didn’t know that much about recording,” he says. “I mean, I’d done a lot of home recording. We knew the basics. Noah [Landis, synthesizers/samples] had studied recording in school, but, yeah, what we learned from Steve was just that there’s no nonsense and just don’t overthink it.”

Neurosis can be a difficult band to describe. You can hear their influences – Swans, Melvins, Black Sabbath, old-school anarcho punk and Throbbing Gristle — and yet the only bands who sound like them, or try to, are the bands who they influenced. Over the years, their sound would blossom and expand, growing more dynamic.

Apocalyptic guitars were always in the air, the storm clouds on the horizon, but Neurosis also traffic in slack air, seeding moments of menace and beauty in the near silence, and in psychedelic noises that are hard to attribute to guitar or synths, in the explosive release of the riff. But this evolutionary zeal never took them that far from their roots. Albini’s workflow was perfect for that, allowing them to track live from the studio floor.

“We’re a band. We rehearse in a room. We don’t do this modern fucking one guy at a time, shit. We all set up and we play,” says Von Till. “We overdub the vocals – ‘cos then we’ll play guitar better if we’re not trying to sing and play guitar at the same time. [Laughs] Plus, you can sing into a nicer, more sensitive microphone. But we set up as a band and record as a band, in a good sounding room with good microphones, put in the right spot – and there’s no bullshit. And with Steve, we learned [that].”

That was one lesson. Another was that a Neurosis album could be recorded and mixed in a week. This came as a shock to Von Till.

“When we first recorded with him – Times Of Grace was the first thing we recorded with Steve – we booked way too much time, ‘cos we were just used to all these techniques that wasted time,” he says. “These were these kind of bad habits that we learned in our other studio experiences.”

Not that those experiences were all bad. On the contrary. Neurosis had shed their skin by the time they met Albini. They had harnessed the great low-end power of sludge riffs, applied them to hypnotic rhythms, making albums such as 1993’s Enemy Of The Sun play out as great trippy nightmares, like the acid’s gone bad and they’d attained this great fevered second sight into the post-atomic spiritual rot that has divorced humankind from the natural world we belong to.

“Looking back on it, Enemy Of The Sun was really gratifying to work with Billy Anderson, because we thought we were just quickly recording an EP, and we accidentally made a record, because it was just quick and natural,” says Von Till. “It felt great, not fucking around. With Steve, again, [it’s] very natural. There’s no studio tricks. There’s no bullshit. It’s a band in a room. It’s a good sounding band in a good sounding room, with good mics, put in the right spot.”

Neurosis recorded six albums with Albini. They were not the only band to call upon Albini time and time again. The Jesus Lizard, Mogwai, The Wedding Present and Low had many collaborations. But only defunct Montana indie-rockers Silkworm, who briefly reunited for a tribute concert following Albini’s death in 2024, and venerable Japanese noise-rock band MONO recorded more music with Albini than Neurosis.

Since 2004, MONO had recorded all of their albums with Albini. MONO’s guitarist and principal songwriter Takaakira ‘Taka’ Goto describes Albini as a “friend and teacher”.

Electrical Audio held such an emotional pull for MONO – and practical, they have made so many connections there – that they returned to Chicago to track their new album, Snowdrop, their first since losing Albini.

“I could feel a lot of Steve Albini during the recording session,” says Goto. “The sound of the studio is his legacy, and each tone, each sound – everything – it’s like Steve is here. It’s like Steve is always there.”

Neurosis’s comeback album, An Undying Love For A Burning World, was released without warning on the Spring Equinox through Neurot Recordings. This surprise release also unveiled the band’s new lineup, with Aaron Turner [Sumac, ex-Isis] replacing co-founder Scott Kelly on guitars and vocals. Kelly had been fired in 2019 after it emerged he had been engaged in the abuse of his wife and children. Neurosis announced a hiatus in 2022 when this news was made public.

No one saw this record coming. The story of this triumphant second act is one for another day – we spoke to Turner and Von Till about it – but Von Till says the choice of producer was influenced by those experiences with Albini. They wanted someone with a similar ethic, and they found him in Scott Evans of Kowloon Walled City.

“We love the way his records sound,” says Von Till. “Aaron had worked with him with Sumac a bit. I did a little bit of solo recording with him on my piano. And he’s cut from the same cloth. He’s not, like, studio tricks and nonsense, you know? It’s very natural. It’s just a natural capturing of rock music.

“You want to hear Jason’s [Roeder] snare drum like it’s Jason’s snare drum in your face. You don’t want to fix it later. You don’t want to record your guitar direct and put it through a bunch of digital bullshit to try to make it sound better later. Just catch it! We spent a lot of time getting our tones right in a room, in practice. Just catch it.”

Von Till argues there’s a time and a place to use the studio and all its tool kit. There’s a time and place to track the parts separately, to apply some post-production to them later and then stitch it all together. For Von Till’s solo projects, both under his name and as Harvestman, he might need to have someone send him a part.

He lives out in rural Idaho, under the shadow of the firs. He says it can be hard to get a cellist to drive all the way out there. But rock bands? Show up rehearsed, plug in and turn it up. And find someone like Albini, who knows where to put the microphones.

“I love multi-tracking, and I love the art of multi-tracking records, so I’m not against the whole concept of piecing records together,” says Von Till. “But rock bands – rock bands that play together – I just like that idea of catching the performance. And, of course, yeah, if you flub a note, punch it, old-school style, play over the riff and fix your wrong note.

“But it’s a performance, and it’s a vibe, and it’s a take. And sometimes the accidents, and the mistakes add to it. Sometimes the way that feedback accidentally came up between those two notes could never be replicated again.”

That's part of the art of it all. Being alive and aware and open to these accidents is one of the essential skills of any musician or producer. We have to recognise when something great has happened even if it wasn’t what were looking for at the start of the session.

And just hope someone has put the mics in the right place and the tape is rolling.

“For sure. I mean, we have these kind of epic grand soundscapes but we’re still rock and roll,” says Von Till. “We’re rock and roll. It’s a rock and roll band. We want that fucking dirty Motörhead/MC5/Stooges fucking shit in there! [Laughs]”

• An Undying Love For A Burning Planet is out now via Neurot Recordings.

Multifunctional recording hardware is nothing new, but this device from audio newcomer Hisong aims to push this to the limits. The S1 is a combined mic and audio interface, but with the added bonus of onboard DSP, minimal latency monitoring and both wired and wireless functionality. Clearly, this ‘all-in-one mobile recording capsule’, as Hisong calls it, is aiming high.

But before we get into how it works, let’s take a look at what you get. AirStudio S1 comes in three different bundles. The core 4-in-1 Musician Kit includes the S1 mic with proprietary wireless IEMs, an adjustable magnetic desktop stand, foam windscreen, USB-C cable, USB-C to USB-A adapter, IEM silicone tips and storage bag. The Creator Kit adds the RX Mini Wireless Receiver for a 5-in-1 package, and finally, the 6-in-1 Master Kit adds both the RX Mini and RX Plus Main Receiver, with the latter including further physical connectivity.

Fundamental to all bundles is the main S1 unit, which, in addition to its mic duties, is also a 2-in 2-out wired USB audio interface. It also includes wireless IEMs and integrated low-latency monitoring. Power comes from the onboard rechargeable battery (up to 10 hours of battery time) or via USB. Meanwhile, the IEMs are stored and charged inside the slide-open mic body. The S1 includes some on-body buttons for setting mic and monitoring options, but the whole ecosystem is primarily managed using the Hisong Link mobile app. Note: There is no desktop app.

The two RX-equipped kits add wireless connectivity between the S1 and your USB-equipped recording device. The RX Mini just provides wireless connection, however, the RX Plus is a more fully-featured rechargeable battery-powered wireless breakout box with two mini jack outputs (line and headphone) as well as a USB-C powering input and on-body level buttons. There’s also a slot-in USB-C shoe for connection to a target device and a cold shoe option for camera top mounting via the included 3.5mm to 3.5mm cable.

Performance

We don’t usually dwell on the unboxing aspect of the products we test, but here we’ll make an exception as the S1 package is excellently conceived. All components come in a bespoke compact toiletries-style carry case. This includes plenty of pocket sections, so even if you buy the Master Kit, all bits slot away neatly for transit.

At just over 12cm long, the S1 is nicely compact, and the use of magnetic coupling to the table top stand or included camera stand adapter makes mounting the mic quick and flexible. The S1 mic is end-addressed with two modes, condenser and enhanced dynamic, which you select using the on/off switch. These provide cardioid and super-cardioid patterns, respectively, and the condenser mode is obviously brighter with a much wider pickup pattern. Both modes handle plosives pretty well, and there’s only low-level proximity, making the S1 good for speech. That said, it definitely sounds good enough to capture other instruments.

The onboard IEMs pair automatically with the S1 providing immediate minimal latency monitoring, and the S1’s onboard buttons provide various options including mic mute and level. You’ll find more extensive controls in the Hisong Link mobile app, where you can also choose from a chain of DSP options including EQ, compression, reverb, noise reduction and limiting. These are quite basic single slider designs, but are nonetheless handy for quick changes. What’s more you can also specify processed or unprocessed for the USB output (though not the RX output). The mobile app also includes two handy recording features, OneTrack and DualTrack, designed for RX and USB connection respectively.

The kit has some further interesting functionality. First up, you can use the RX Mini and RX Plus at the same time. So, for example if you wanted to simultaneously send your mic audio to your camera mounted RX Plus and use its mini jack output to record onto the camera track, and at the same time record the S1 output to a laptop or phone all wirelessly, then you can. With the RX Plus in use, you also have both IEMs and a headphone output, again, both outputting simultaneously. Finally, the S1 is also available as a Bluetooth music target, allowing you to stream via Bluetooth to your S1 in stereo, and this audio will be blended with the mic source and sent to both RX devices.

Verdict

It’s clear a lot of thought has gone into this product, with functionality and portability at its heart. But it’s sonically pretty decent too, and although maybe not a first choice for audiophile music users, it still provides a great general purpose solution.

Hands-on demos

HISONG

Alternatives

Specifications

Reference monitoring is a crucial component for any studio, home or Pro - but not always the most compelling of studio goodies to purchase. This year’s Prime Day music deals, then, are the perfect opportunity to invest in some handsomely-discounted necessaries, as evidenced by this absolute gem of a headphone-monitor discount.

The Pro X variants of these very headphones were highly-rated enough to top our list of the best budget studio headphones - which should tell you something about the viability of this particular Prime Day deal. The DT 770 Pro are bona fide closed-backs for Professional purposes, combining some supremely impressive specs with keen over-ear comfort. Read our full Beyerdynamic DT 770 Pro review to see exactly what we think.

Those specs, incidentally, include a 5Hz-35kHz frequency range, across which the DT 770 Pro’s 45mm drivers deliver impeccable balance. As budget monitor headphones go, these are practically the platonic ideal; there’s a reason you’ll find them, in bulk, in pretty much any professional studio you could think of.

The DT 770 Pro has three different versions, which have different input impedances - namely 32, 80 and 250 ohms. Impedance isn’t the easiest thing for beginners to get their heads around, but the Cliff’s notes is that lower-impedance devices don’t present any issues for smartphones and consumer devices, while higher-impedance devices benefit from the oomph provided by higher-end studio equipment.

All three of the Beyerdynamic DT 770 Pro in this Amazon Prime Day deal enjoy the very same $60 discount, so pick carefully! If you’re after some everyday closed-backs that’ll work with your laptop just as happily as with your audio interface, go with the lower impedance; if sitting on some primo headphone amplifiers though, you’ll want to go higher.

Whichever impedance you go for, you’ll be getting some industry-standard monitor headphones for an incredible price. They’re non-fatiguing, they’re supremely even-handed, and they’ve got enough intrigue in the bass to keep things interesting too. And they’re cheap. Did we mention they’re cheap?

Phase alignment, level matching and positioning issues mean that getting set up can sometimes take a lot longer than you’d think, and even then, the results are not always what you were hoping for.

All of which explains why JZ Microphones has just launched the MU-1, which it claims is the first studio mic to incorporate a ribbon element and a large-diaphragm condenser capsule side by side. These are placed in a level-matched, phase-coherent all-metal body with the aim of giving producers a reliable ribbon-plus-condenser option that can be pulled out quickly whenever they need it.

A single 5-pin XLR carries both signals, and you can then split these into two standard 3-pin XLRs using the included breakout Y-cable. This means that you can record either capsule on its own, or both on separate channels simultaneously so that they can be blended as required.

The MU-1 was designed by Grammy Award-winning producer and engineer Marc Urselli (U2, Nick Cave, Foo Fighters, Lou Reed, Elton John, John Zorn), who says: "The ribbon-and-condenser technique has been my favorite way of recording things for a long time. However, it involves having to set up two stands, negotiate space, align mics in the physical space, and align their phase afterwards.

“MU-1 is the first time the sound comes out of one microphone - phase-coherent, level-matched, and completely repeatable from session to session. That changes how I work: it delivers the best sound, simplifies setup, delivers options, offers a sonic palette that spans decades and improves everything."

Handbuilt in Latvia and shipping in a wooden box with its own shockmount, the MU-1 is currently available for pre-order priced at $1999/€1999. It’s set to ship in August, and you can find out more on the JZ Microphones website.

In a cheery statement, the German firm said the new line meant “more freedom for your performance… say goodbye to unravelling cables, trip hazards on stage, and restricted movement.”

The Free 300 range comes in two types – handheld mic systems and bodypack systems. Both the Free 300 HT 823 and the HT 548 in those types are equipped with three pre-programmed frequency groups and ten channels each, meaning you can run six systems simultaneously, which, of course, is very useful if you need multiple performers in a band mic-ed up at the same time.

As well as that, both the 823 and 548 include high-contrast LCD displays so you can check your frequency, channel, and battery status at a glance, even in environments where there isn’t much light.

You can also switch between handheld transmitter and pocket transmitter, though you can’t use both simultaneously. The range for both is 100 metres and they also both come with a rack mount.

According to t-bone, the 823 is “perfect for presenters and performers who need a license-free, professional wireless system that combines ease of use with high-quality sound. Its durable construction and professional features make it a trusted companion for stage, rehearsal, or event use.”

Meanwhile, the 548 “delivers clear sound and reliable performance with a range of up to 100 m. Its robust design and professional features make it an ideal choice for performers who need a cost-effective, easy-to-use wireless solution.”

For more information head over to t bone’s website at www.tbone.audio.

It’s no secret that Sennheiser knows a thing or two about making fantastic studio headphones for mixing music, and it's for that reason that a pair of Sennheiser’s has sat at the top of our buying guide for a long time. Looking at any list online, you'll find most of the top-rated mixing headphones tend to be open back, which makes them less than ideal for mixing on the go or doubling as a tracking pair. Enter the Sennheiser HD 480 Pro, which aims to give you that same reliable performance of a classic mixing headphone, but in a closed-back package.

Comparing this pair to its popular open-back cousin in the Sennheiser HD 490 Pro, the HD 480 is strikingly similar in terms of the key specifications. Both share 38mm dynamic drivers, a 130 Ohm impedance rating, and are available in Pro or Pro Plus versions, which see the addition of a more sturdy case. Both have very similar frequency responses with 3 Hz - 28,7 kHz for the 480s and 5 Hz - 36,1 kHz for the 490s, as well as similar SPL (Sound Pressure Level) stats at 130dB for the 480s and 128dB for the 490s.

Like the HD 490, the 480s have a detachable cable that can be plugged into either ear cup, and they both have very soft ear pads and a headband cushioning with a detent in the middle to reduce the pressure on the top of your head. The only noticeable difference in terms of aesthetics is that the back of the ear cups is perforated on the HD 490 and solid on the 480, and that with the 490 Pro Plus, there's a second set of mixing-specific ear pads available.

The HD 480 Pro also has some very fancy terms attached to it, including something called multistage passive shielding, which is designed to help isolate the headphones further on top of the closed-back design. It’s also got a ‘Vibration Attenuation System’, a new technology that allegedly prevents distortion. But the most pleasing to engineers and producers will be that Sennheiser has paid close attention to the comfort of these cans, with a mechanical headband design that should fit any size or shape head, and a comfort zone for those who wear glasses.

Performance

I also have a pair of HD 490 Pros in my home studio, so I will do a comparison of sound, but for now, let’s pay attention to the HD 480s. My first impression upon putting them on my head is that they feel pretty much the same as the 490s. There’s a slight difference in weight, but this isn’t noticeable in real-world use, and the 480s are super comfortable thanks to the soft lining of the ear cups and headband.

They fit my head nicely, and I’m a big fan of the oval-shaped ear cups here, which very nicely surround my larger-than-usual lobes without pressing down on them like some other headphones. The detachable cable can be used on either ear cup, which seems like a small detail, but once you’ve made use of it, it’s hard to go back to a headphone without this feature. I frequently move my cans to different studio settings, so this makes sure I can keep things as ergonomic as possible, no matter what I'm doing.

During the course of my testing, I used the 480s in a busy coffee shop, and although some ambience crept through at lower levels, once I got towards the middle and higher volume settings on my laptop, it was easy to block out the din. And the bleed levels? Hard to say, but no one looked at me funny whilst I was blasting the new Mandy, Indiana album.

I also used them in a studio setting, and as the console and live room are in the same space, I needed the cans to monitor while my singer did her vocal takes with a Neumann U87 condenser mic. The isolation was good enough that I couldn’t hear others in the room talking to me whilst the music was still running, which I’ll take as another plus in the isolation column. I also got my singer to wear them while she was tracking to see how the bleed was, and from what I could hear on the multis, it was negligible.

Sticking on my headphone tester playlist, I start with the low end and my go-to sub bass test in Lil Wayne’s ‘A Milli’. The low end is certainly strong with this pair of headphones, robust and full, but without being overpowering to the rest of the mix. It’s the same with James Blake’s ‘Limit To Your Love’ and a couple of Massive Attack tracks, really muscular and present, so I reckon these will be great for seeing how your low end translates if you’re using smaller studio monitors.

Moving on to some busier mixes, Radiohead’s ‘Paranoid Android’ sounds as good as it ever has, with plenty of detail and a great separation between all the different elements of the mix. It bodes well for those using these as a primary mixing can, and that strong low-end is present here too, as well as a nice bit of stereo spread.

A/Bing this with the HD 490s via the dual headphone inputs of my Universal Audio interface, the 480s feel slightly narrower and more closed-in, which is expected due to the design of each. To my ear, the 490s sound a touch brighter and more open, especially when Thom Yorke’s high-pitched vocal kicks in. Moving back to Lil Wayne, there’s clearly less low-end in the 490s, but overall, the sonic characteristics of both are pretty similar. You wouldn’t confuse them for the same pair, but if you already own a set of 490s, I don’t believe you’d benefit enough to justify picking these up, unless you want a really fancy pair of cans for tracking.

Verdict

Overall, I was really impressed with the performance of the Sennheiser HD 480 Pros. I got to live with them for a good few months and they excelled in mixing, monitoring, and casual listening duties, delivering an excellent response across the spectrum, but particularly with low-end detail. For engineers mixing on small studio monitors, these will be a huge asset for checking the bass and sub bass.

They’re incredibly comfortable too, which makes long mixing sessions an absolute breeze. The large, oval ear cups mean they’ll accommodate a wide variety of ear shapes and sizes, and the headband design ensures they can fit pretty much any size and shape head. With a super soft ear cup and headband material, these are supremely comfortable studio headphones.

Of course, they have natural limitations due to the closed-back design. They don’t feel as wide with hard panned elements of the mix, and sound less open than a pair of open-back headphones. The muscular low end might be too much for some producers as well, so if you prefer an open-back design, then check out the HD 490 Pro instead.

MusicRadar verdict: If you’re after a pair of closed-back cans for mixing duties, the Sennheiser HD 480 Pro is a no-brainer. With fantastic low-end reproduction and a wonderful balance across the full frequency spectrum, they could be just the thing for checking the low end of your mix alongside a pair of studio monitors. Add in excellent isolation characteristics, and you’ve got a do-it-all pair for any mixing or monitoring tasks.

Hands-on videos

Alternatives

Specifications

This doesn't only apply to the style or vibe of a piece of music, though, but also to the way a song is produced, mixed and mastered.

Without getting too philosophical, this begs the question: Is there really such thing as a "bad" mix? We’re not entirely sure, although there are, of course, some generally accepted mixing norms that are broadly followed to ensure that music is pleasing to the majority of listeners.

For example, creating a good tonal balance prevents particular musical elements or frequency ranges from stealing the limelight. On the other side of the coin, creating a sense of contrast and definition in the mixing stage can help to distinguish each element within a mix.

It's worth remembering, though, that these are mere conventions, and by no means constitute a set of hard and fast rules. With that in mind, let’s take a look at some unconventional mixes that stray from those accepted norms in one way or another, arriving at something uniquely brilliant in the process.

1. Burial - Archangel

First up is this track from Burial’s seminal album, Untrue. Frankly, all 13 tracks from the album could make it onto this list, but Archangel stands out as a particularly unconventional mix. It’s fair to say that when it comes to music production practices, Burial is someone who has probably never heard of the rule book, let alone followed it.

There are a number of production decisions that come together to define Burial’s signature sound. He’s famed for sampling sound effects from the game Metal Gear Solid to create the skittering off-kilter hi-hats that are strewn throughout his productions. He’s also said to have created the album in two weeks using a primitive audio editor called Sound Forge. 

Additionally, the vocals used throughout the album are sourced from everything from Top 10 pop hits to YouTube covers from unknown artists. His unique vocal style is the result of ripping often badly-recorded vocals and then aggressively repitching them.

This is true of the vocals in Archangel; the track features a combination of extremely wide and narrow vocals, with the narrow vocals fighting for space with the string pad. Incidentally, the string pad is sampled from the intro to a Metal Gear Solid game, but lacks the width and clarity that you might expect from the main melodic element of a track.

The vocals are one of the driest elements in the mix, with Burial opting to apply reverb to the drums, kick and bass instead. His signature layer of vinyl crackle features sporadically throughout the album, but at a volume that could be perceived as distracting.

In a 2006 interview with Martin Clark, Burial explains the crackle sound is to hide the fact he couldn’t get his drums to sound like garage producer El-B’s. “The thing about garage is: the more you look at it like some tech-boy producer, the less you get it.”

On paper, Archangel’s mix just shouldn’t work. In reality, it works remarkably well, summoning a powerful sense of nostalgia and melancholy. Despite Burial’s arguably questionable approach to production and mixing, Untrue remains one of the most influential albums in contemporary electronic music and was even nominated for a Mercury Music Prize in 2008.

2. Tyler the Creator - BOYFRIEND

Another album that has been mixed to unconventional standards is Tyler the Creator’s 2019 album Igor. Once again, the entire album would qualify for a position on this list, but some tracks on the album are more extreme than others when it comes to their unusual production and mix aesthetic.

The fourth track from the album’s physical release, BOYFRIEND, is the most prominent example. The introduction to BOYFRIEND is relatively inoffensive - it’s not until additional elements are introduced later in the track that you begin to realise how out of balance the mix sounds.

This is a common theme throughout Igor, as is the extensive processing that often renders the lead vocal distorted and at times unintelligible. The bass frequently takes centre stage while the drums and lead vocal are tucked in behind.

Tyler the Creator is known to have produced the entire album, and though he passed mixing and mastering duties on to dedicated engineers, he instructed them to make the album sound the way it does. In an interview with Mix with the Masters, Tyler the Creator’s mastering engineer Mike Rozzi says that Tyler told him “I want this to be gross.”

The crunchy, distorted finish of the entire album gives it a lo-fi feel, and the juxtaposition between the emotive melodies and highly textured mix has been widely praised by listeners and critics. Regardless of - or perhaps because of - the mix aesthetic, Igor earned Tyler widespread acclaim and won a Grammy in 2019 for Best Rap Album.

3. Jai Paul - Jasmine (Demo)

Tyler the Creator isn’t the only popular artist taking an unorthodox approach to mixing and production. Jai Paul is renowned for both his out-there aesthetic and unique vocal delivery, and the vocals on Jasmine are no exception. 

Much like the Tyler the Creator examples mentioned above, the focal point in Jasmine (Demo) is the bass while the vocals are mixed extremely far back in the mix. This is particularly true in the verses, while the vocals are allowed to shine through a little more during choruses. Additionally, there seems to be an extreme chorus effect on the vocal that almost verges into phasing territory.

In the intro and outro, the bass moves around the stereo field, which is generally a mixing no-no for mono-compatibility reasons. As the track progresses, the additional notes and distortion make the bass increasingly hectic. The swelling lead sound that is introduced later on in the track is also heavily distorted, which adds to the sense of chaos.

It’s possible that Jai Paul himself came to observe these mixing quirks, as a second version entitled Jasmine (Edit) was released in 2020 to coincide with a vinyl release. In this version, the vocal is noticeably more present while the other unusual mixing characteristics are attenuated, or not present at all.

Now would be a good time to remind ourselves again that unconventionality is often a mix's strong point, rather than its downfall. In an interview with Pitchfork, Canadian producer Caribou echoed this sentiment, praising Jai Paul’s distinctive sound: “I want to aspire to make music that’s exciting and has unexpected things happen, but that is truly unexpected and amazing. It lives in its own world.”

4. The Avalanches - Frankie Sinatra

As well as having a rather bizarre but entertaining music video, Frankie Sinatra by The Avalanches is another popular track that showcases an atypical mix. Once again, the vocals during the verses - especially Danny Brown's contributions - are very obviously set back while the bouncy brass elements take precedence at the forefront of the mix.

This is particularly unusual for rap vocals, which are the focal point of any hip-hop track; a mixing engineer's job is to ensure that the lyrics are loud and clear enough to be comprehensible to the listener. Additionally, the sporadic snare fills seem to be laid on top of the other drum elements as opposed to being mixed together. The result is a jarring snare scare as you listen through the track.

5. Red Hot Chili Peppers - Californication

The final example on this list isn’t an unconventional mix as such, but it's still worthy of a mention. That example comes courtesy of Red Hot Chilli Peppers and their 1999 album Californication. Sadly, the album fell victim to the infamous loudness wars, and is still widely cited as one of the worst examples of mastering in modern music.

We’ve embedded the remastered version above, as the original master isn't available on YouTube. The extent of the compression and distortion was so severe in the original master that listeners went to great lengths to get the album remastered: one even started a petition. This not only evidences how bad the album was sonically, but how well the musical content was received too - there are no petitions started for mediocre albums.

The petitioners' dreams were answered in 2012 when the album was remastered for vinyl. There was a further remaster in 2014 which was intended for streaming services, although audio buffs claim there is still some over-compression and even clipping present in the most recent version.

Well, this week, Guitar Center's fantastic acoustic guitar sale continues with up to 30% off a huge selection of instruments. You can still score major savings on acoustics, classicals, ukuleles, resonators, and banjos. The sale runs until June 24th, giving you plenty of time to grab a deal. All the top brands, Taylor, Martin, Gibson, Yamaha, Fender, Epiphone, and more, are included, making this one of the best chances to score a quality acoustic this year.

Sweetwater has just launched its drum month sale, which means deep discounts on everything percussion-related. We're seeing hefty savings of up to 55% off on electric kits, studio-ready acoustic kits, cymbals, snares, and so much more.

Now, the savings don’t stop there; Waves is still running specials on plugin bundles. If you spend $50, you’ll get one free plugin, and if you spend $80, you’ll get two free plugins. If you’ve been itching to upgrade your home studio, now’s the perfect time.

Lastly, Musician’s Friend Electric Guitar Month is here, offering incredible deals on select electric guitars, amps, and effects. You can also take advantage of special financing offers and stock up on accessories with 15% off qualifying purchases with the code ACC15.

Editor's picks

Looking for more bargains? Check out more recommended sales below:

• Thomann: Shop hot deals
• Fender Shop: Shop discounted Strats & Teles
• IK Multimedia: Save on iRig and AXE I/O
• Plugin Boutique: Save big on plugins
• Positive Grid: Smart amp sale
• Reverb: Save big on top brands

How we choose our deals of the week

Here at MusicRadar, we are experts in our field, with many years of playing, creating and product testing between us. We live and breathe everything music gear-related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our deals.

Our mission is simple - to help you make the best buying decision, find the right gear at the right price, to make the best music you can.

For us to recommend a deal it has to be a product we rate that’s been reduced to a genuinely great price or part of a truly fantastic bundle. It’s also important that we only recommend retailers that we trust.

You can see more of our product recommendations in our buyer's guides and reviews.

Why you can trust our choices

Our editors and writers are all experienced musicians and experts in their fields. They have a deep understanding of the categories that they cover, which means that you can trust their choices when it comes to recommending products.

We pride ourselves on the independence, quality and reliability of our testing processes and the reviews it produces. It’s what has made us the world’s leading music-making publishing company. You can find more details on how we test some specific key product categories, but the principles apply across the board, rigorously assessing build quality, functionality, playability and, of course, sonic performance.

We cover a lot of the big sales events throughout the year, including Memorial Day, Black Friday, 4th of July sales and Amazon Prime Day, and we have a good view of which products are likely to receive the biggest discounts and when, the prices they’ve been in the past and which deals are genuinely worth a look.

Where are the best places to shop?

Online shopping is definitely a lot easier and more secure than it used to be, and we like to recommend a small handful of online retailers who have a sterling reputation and offer fantastic benefits like fuss-free returns, great customer service and, in some cases, full checks and setup of guitars before they are dispatched. So, all the deals we’ll recommend on this page are from retailers that tick these boxes.

What sort of deals should I look for?

Great deals come in all shapes and sizes. There are a few key types to look out for:

• Single item - A single product with a great discount
• Site-wide discounts - A single discount percentage on a large range of products across a site
• Discount codes - Load your basket to a certain value and redeem a discount code for money off your basket contents
• Added value deals - These include multi-buy discounts, or additional products or software for free when you buy certain items

That changed in 2025, though, when the band reunited and performed a run of European live shows. This time, they made use of the Sound Devices Astral Wireless technology, and Radiohead’s FOH mixer Simon Hodge has now been explaining what convinced them that it was time to make the switch.

“The technology always needed to catch up in a sonic sense,” he says. “The band doesn’t tend to change how they operate for the sake of changing; they only are interested in upgrades that will serve their musical goals.

“Although the band have used RF systems for guitars in the past, the opinion was always that it never sounded as good as a cable and would not be adopted,” he continues. “When we became aware of Sound Devices Astral, we realised that the team had gone to some effort to make sure it truly did sound like a jack and cable input with customizable capacitance and impedance. I remember thinking ‘We might finally have something interesting here.’”

The change wasn’t made without careful consideration, though. “After listening to it myself, we brought it into Jonny [Greenwood]’s studio and did some blind tests between Astral and their preferred cables,” Hodge says. “We all listened and even the most cynical guitar techs were impressed! The quality of the audio path was obvious, and it wasn’t changing the sound at all.”

In the end, Radiohead ended up using three Sound Devices Astral ARX32 Wireless Receivers, 42 Astral TX Digital Wireless Bodypack Transmitters, and six Astral HH Wireless Handheld Microphones for their stage show. There was also the Astral Guitar Cable, which appealed to the band because of its selectable input impedance and cable capacitance, which enabled them to match their cabled setups.

The wireless gear also helped with when band members switched guitars during the set. Together with Radiohead’s RF Tech Matt Hayes, Hodge designed a custom solution which fed the Astral ARX32 inputs into a Prodigy Audio Processor via Dante and, used custom Streamdeck controllers to provide easy accessibility to both the band and their respective guitar techs.

“The band travels with dozens of guitars, Ed O’Brien himself had 32 on this run,” Hodge reports. “This was the first time we could have all 32 at once accessible and easily switchable in the same interface, a choice that either the musician or tech can make as needed.

“The need for quick, seamless changes in a live show is incredibly important and often more challenging when done in an ‘in the round’ setup as we had,” he continues. “The ease of use in the Astral UI allowed us to manipulate the signal flow seamlessly, which worked really well for the logistics of the show and allowed us total control with no compromises.”

It sounds like the Astral Wireless gear is here to stay, then, having stood up to the challenges of live performance without detracting from the overall spectacle.

“The band is very invested in the experience being as real as possible without any ‘fixes’ or gimmicks,” says Hodge (there are no backing tracks or Auto-Tune in play). “There’s a lot of pressure for these shows to be amazing given the following that the band have. This is countered by the fact that the band are extremely reasonable people who are very invested in their output and their fans, so they enjoy the challenge to get the best results, rather than deferring to ‘easier’ solutions.”

Summarising what makes the Sound Devices kit different, Hodge says: “It was an excellent experience for both the band and the fans because the setup allowed it to be intimate while still giving us excellent control of all the sonic and visual details that are so important,” he says. “We are all very invested in that personal experience and anything added only makes the cut if it’s guaranteed to do that.”

“The Astral Guitar System ended up being a game changer for us, and the band have been quite happy with the results on stage.”

Right after the slew of Memorial Day deals, Guitar Center is kicking off a fantastic acoustic guitar sale with up to 30% off a huge selection of instruments. Score major savings on acoustic and acoustic-electric guitars, classicals, plus ukuleles, resonators, and banjos. The sale runs until June 24th, giving you nearly a month to grab these deals. All the top brands, Taylor, Martin, Gibson, Yamaha, Fender, Epiphone, and more, are included, making this one of the best chances to score a quality acoustic this year.

Sweetwater’s Recording Month sale means deep discounts on everything studio: microphones, speakers, interfaces, headphones, and software. Now, the studio savings don’t stop there; Waves is still running specials on plugin bundles. If you spend $50, you’ll get one free plugin, and if you spend $80, you’ll get two free plugins. If you’ve been itching to upgrade your home studio, now’s the perfect time.

Lastly, Musician’s Friend Electric Guitar Month is here, offering incredible deals on select electric guitars, amps, and effects. You can also take advantage of special financing offers and stock up on accessories with 15% off qualifying purchases with the code ACC15.

Editor's picks

Looking for more bargains? Check out more recommended sales below:

• Thomann: Shop hot deals
• Fender Shop: Shop discounted Strats & Teles
• IK Multimedia: Save on iRig and AXE I/O
• Plugin Boutique: Save big on plugins
• Positive Grid: Smart amp sale
• Reverb: Save big on top brands

How we choose our deals of the week

Here at MusicRadar, we are experts in our field, with many years of playing, creating and product testing between us. We live and breathe everything music gear-related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our deals.

Our mission is simple - to help you make the best buying decision, find the right gear at the right price, to make the best music you can.

For us to recommend a deal it has to be a product we rate that’s been reduced to a genuinely great price or part of a truly fantastic bundle. It’s also important that we only recommend retailers that we trust.

You can see more of our product recommendations in our buyer's guides and reviews.

Why you can trust our choices

Our editors and writers are all experienced musicians and experts in their fields. They have a deep understanding of the categories that they cover, which means that you can trust their choices when it comes to recommending products.

We pride ourselves on the independence, quality and reliability of our testing processes and the reviews it produces. It’s what has made us the world’s leading music-making publishing company. You can find more details on how we test some specific key product categories, but the principles apply across the board, rigorously assessing build quality, functionality, playability and, of course, sonic performance.

We cover a lot of the big sales events throughout the year, including Memorial Day, Black Friday, 4th of July sales and Amazon Prime Day, and we have a good view of which products are likely to receive the biggest discounts and when, the prices they’ve been in the past and which deals are genuinely worth a look.

Where are the best places to shop?

Online shopping is definitely a lot easier and more secure than it used to be, and we like to recommend a small handful of online retailers who have a sterling reputation and offer fantastic benefits like fuss-free returns, great customer service and, in some cases, full checks and setup of guitars before they are dispatched. So, all the deals we’ll recommend on this page are from retailers that tick these boxes.

What sort of deals should I look for?

Great deals come in all shapes and sizes. There are a few key types to look out for:

• Single item - A single product with a great discount
• Site-wide discounts - A single discount percentage on a large range of products across a site
• Discount codes - Load your basket to a certain value and redeem a discount code for money off your basket contents
• Added value deals - These include multi-buy discounts, or additional products or software for free when you buy certain items

Still viewed as one of the most reliable and consistent dynamic mics in the world, the SM58 remains a staple on stages around the world. And you won’t just find it in pubs and clubs: despite its affordability, even some big-name popstars continue to swear by it – Olivia Dean, for example.

Dean is something of an outlier among many of her pop peers in that she prefers a wired mic to a wireless setup when she’s performing, and Shure’s bombproof classic is one of her go-to models.

“The SM58 has been a staple of my live show for years,” she says. “Having the right microphone is so important to me; I need something reliable and durable and the SM58 has that warm, crisp and classic sound that I love.”

That said, on her current tour, Dean isn’t using just any old SM58: “We ended up going with a chrome finish for The Art of Loving Tour, which fits perfectly with the show design,” she says.

As well as being famed for its sound, the SM58 is also favoured by live engineers because of its cardioid pickup pattern, which helps to minimise feedback and background noise.

And then there’s that durability: Swedish magazine Studio once tested an SM58 after using it as a hammer, dropping it, freezing it, submerging it in water and running over it with a car, and it still worked. In fact, it continued to do its duties even after it had then been buried in the ground and endured rain, snow and more freezing temperatures.

It’s not just live sound history that the SM58 has been part of, either – it’s also been used on a few famous recordings, sometimes in rather unusual environments.

Speaking in 2024, the Human League’s Phil Oakey revealed that it was Shure’s mic that he had in his hand when he sang on their hit Don’t You Want Me, and that the take was captured while he was standing in a Sheffield studio toilet.

Speaking in celebration of the SM58’s 60th birthday, Chris Schyvinck, President and CEO of Shure, said: “Very few products remain relevant for 60 years, let alone become the industry benchmark. The SM58 has been trusted across generations not because of trends, but because it works, night after night, show after show.”

With Memorial Day Weekend drawing closer and the big day itself not landing until May 25th, there may not be any official sales just yet, but there is a surge of great deals worth shopping right now. While many of the biggest sales are still on the horizon, you don’t have to wait to score serious savings. If you’re keen to grab a bargain ahead of the holiday rush, there are plenty of impressive offers available right now.

Sweetwater has just kicked off a huge effects pedal sale, offering up to 35% off a wide variety of stompboxes. You’ll find $100 off Universal Audio UAFX pedals, plus major savings on brands such as Line 6, Digitech, Warm Audio, Electro-Harmonix, and many more. If you’re looking to refresh your pedalboard, this is the perfect time to explore what’s on offer.

For gigging musicians, Sweetwater is also running a Gig Essentials sale with up to 30% off strings, cables, and must-have accessories for a limited time.

After its recent relaunch as an outlet-style store, Musician’s Friend is serving up some major savings, with up to 60% off top brands. Right now, you can find up to 50% off electric, acoustic, and bass guitars, so if you’re in the market for a new instrument, it’s definitely worth a look.

Still going strong from last week, Guitar Center’s huge Live Sound sale continues, with up to 25% off leading brands like Yamaha, JBL, Alto, and Shure. Whether you’re shopping for new speakers, microphones, or other live sound essentials, these limited-time offers make upgrading your setup more affordable than ever.

Editor's picks

Looking for more bargains? Check out more recommended sales below:

• Thomann: Shop hot deals
• Fender Shop: Shop discounted Strats & Teles
• IK Multimedia: Save on iRig and AXE I/O
• Plugin Boutique: Save big on plugins
• Positive Grid: Smart amp sale
• Reverb: Save big on top brands

How we choose our deals of the week

Here at MusicRadar, we are experts in our field, with many years of playing, creating and product testing between us. We live and breathe everything music gear-related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our deals.

Our mission is simple - to help you make the best buying decision, find the right gear at the right price, to make the best music you can.

For us to recommend a deal it has to be a product we rate that’s been reduced to a genuinely great price or part of a truly fantastic bundle. It’s also important that we only recommend retailers that we trust.

You can see more of our product recommendations in our buyer's guides and reviews.

Why you can trust our choices

Our editors and writers are all experienced musicians and experts in their fields. They have a deep understanding of the categories that they cover, which means that you can trust their choices when it comes to recommending products.

We pride ourselves on the independence, quality and reliability of our testing processes and the reviews it produces. It’s what has made us the world’s leading music-making publishing company. You can find more details on how we test some specific key product categories, but the principles apply across the board, rigorously assessing build quality, functionality, playability and, of course, sonic performance.

We cover a lot of the big sales events throughout the year, including Memorial Day, Black Friday, 4th of July sales and Amazon Prime Day, and we have a good view of which products are likely to receive the biggest discounts and when, the prices they’ve been in the past and which deals are genuinely worth a look.

Where are the best places to shop?

Online shopping is definitely a lot easier and more secure than it used to be, and we like to recommend a small handful of online retailers who have a sterling reputation and offer fantastic benefits like fuss-free returns, great customer service and, in some cases, full checks and setup of guitars before they are dispatched. So, all the deals we’ll recommend on this page are from retailers that tick these boxes.

What sort of deals should I look for?

Great deals come in all shapes and sizes. There are a few key types to look out for:

• Single item - A single product with a great discount
• Site-wide discounts - A single discount percentage on a large range of products across a site
• Discount codes - Load your basket to a certain value and redeem a discount code for money off your basket contents
• Added value deals - These include multi-buy discounts, or additional products or software for free when you buy certain items

It allows players to take a dry electric guitar track off their DAW and run it through a tube amp (or, for that matter, bass guitar). Can’t decide between AC30 chime and a classic Fender amp tone? Record both and decide later what to do with them, because Warm Audio’s Reamper allows players to daisy-chain a pair of amps and then record two different tones for the one take.

You can also record a tube amp (up to 50W at eight ohms) silently, straight to your DAW – just add an IR cab sim to give it that sense of "real room" ambient space.

You can add some warmth to your direct signal via a JFET setting, or keep it clean via the op-amp. And Warm Audio presents us with separate Preamp Out and Reamp Out gain controls so that you can control how loud that dry signal is when it hits your studio gear and how loud it hits your amp.

We are talking about the Reamper within the context of guitars but it is similarly designed to work with synths and keyboards.

These past few years have seen Warm Audio quietly stocking up the world’s pedalboards with affordable versions of vintage stompbox classics, and so it is no surprise to learn that the Reamper is designed to accommodate your 'board.

You can take any track from your DAW and stick effects on it, which can be especially useful for the time-based effects such as delay and modulation that can be a little tricky when recording a take.

The reamper allows you to apply stompboxes to the balanced line-level signal, say, putting phaser on drums, or a little hair from a fuzz pedal to keys, or vocals even. It has a variable impedance control (120kΩ -1MΩ) to accommodate active and passive instruments equally, without noise, no fuss.

“Warm Audio has built its reputation on premium analogue gear inspired by the most beloved studio classics, and the Reamper represents an exciting step forward as we apply that same design philosophy to original tools that solve real problems for today’s music makers,” says Bryce Young, founder and president of Warm Audio. “With Reamper, you can track a performance through your favorite tube amp while simultaneously capturing a dry signal as a safety.

“You can send DAW tracks back through real amplifiers, run guitar pedals across vocal chains or drum busses, or drive a 50-watt tube amp into its sweet spot without making a sound. It’s a creative tool designed to easily route signals between instruments, gear, and the studio.”

The Reamper is available now and is priced £459/$499. For more details, see Warm Audio.

As anyone who’s tried to make music using Bluetooth headphones will tell you, the latency that they introduce makes this all but impossible in most situations. The obvious solution is simply to use a wired connection, but for the past few years we’ve seen various companies giving us another option: low-latency wireless headphones.

AIAIAI is the company most closely associated with this technology, which involves adding a dedicated wireless audio transmitter into the mix, and AlphaTheta has had a go, too. And then there’s OneOdio, a Chinese company that’s seeking to disrupt the market by offering similar tech at a lower price.

The company is now having another bite at the low-latency wireless cherry with the Studio Max 2, the successor to the original Studio Max headphones. These introduce OneOdio’s 3rd Generation RapidWill+ Ultra-Low Latency 3.0 technology, which promises to bring latency down to nine milliseconds and to up the wireless bitrate from 160kbps to 400kbps to deliver cleaner, better quality audio.

Alongside the low-latency mode, the Studio Max 2 also offers Bluetooth 6.0 and wired connectivity options. OneOdio actually claims that there are four connectivity modes, but two of these are just the wired option with two different plug sizes (mini-jack and 1/4-inch) which is a little misleading (if you were hoping that the fourth mode was USB audio, we’re afraid you’re out of luck). You do get all the required audio cables in the box, though (including a nice curly one), along with a mini-jack-to-1/4-inch adapter.

On the Bluetooth side, there’s support for the high-quality LDAC codec and dual connections, so you can pair with two devices simultaneously. There’s also a gaming mode, which reduces latency.

Both headphones and transmitter are charged using the supplied USB-C cable, and promise up to 120 hours (60 hours in low latency mode) and 50 hours of operation respectively. There’s a dedicated app, where you can make EQ adjustments, change settings and update the firmware.

Performance

The first thing that strikes you when you unpack the Studio Max 2 is the size of the hard case that comes supplied. It’s a bit of a beast, and the same could be said of the headphones themselves.

There’s no sense of minimalist design here: these are unapologetically large headphones that will take up a fair amount of space in your backpack. The vinyl-style pattern on the back of each earcup indicates that DJs in particular are the target market, a hunch that’s supported by the fact that the Studio Max 2 is launching alongside a limited edition (just 1,000 units) signature model from DJ KSHMR, which features his own “acoustic tuning” and comes with a pack of his samples.

There’s a fair bit of plastic in the build, though the internal adjustable headband is metal. What’s more, although these are chunky cans, they’re not outrageously heavy, and feel reasonably comfortable being worn for extended periods of time.

Engaging the low-latency wireless mode is pleasingly simple. Assuming both the transmitter and the headphones are charged, you just need to turn them both on and ensure that the mode selection switch is set to ULL (Ultra Low Latency). At this point, pairing should be automatic.

If your audio source is a computer, tablet or phone, you can simply plug in the transmitter over USB-C – no analogue audio connection is required. If you’re working with an instrument or DJ mixer, you’ll use the appropriate audio cable.

We’re pleased to be able to report that low-latency performance exceeded our expectations. When using some similar products, the transmitter has introduced a noticeable background hiss that you could never really get rid of, but the signal on the Studio Max 2 is pretty clean. The connection was also reliable during testing; we didn't experience any dropouts, and the quoted 10-metre range seems conservative, if anything.

What’s more, the latency really is low – to the point where it doesn’t really feel like an issue at all. The response when playing a keyboard was perfectly acceptable, and it did feel good not to have a cable trailing around the place as we jumped between that and a DAW.

Sound quality is also pretty decent. Out of the box, it’s well-balanced, and we noticed plenty of snap on the snares in particular. There is a slight lack of sparkle, and perhaps a little mushiness at times, but the Studio Max 2 is certainly a match for other headphones in its price range.

As you’d expect, the wired connection offers the best performance, but the Bluetooth listening experience is also a satisfactory one. You can make EQ adjustments in the app, but we were happy enough to keep this flat for the most part.

All the pieces are in place, then, for the Studio Max 2 to be a success, though the question you still need to ask yourself is whether you actually need low-latency headphones when, in most instances, you’ll still be standing within a cable’s reach when you use them. Yes, it’s a nice thing to have for instrument monitoring and DJing, but we’d struggle to think of a specific situation where it’s essential.

But then you’ve also got to consider the cost. Even if there was no wireless transmitter, the sub-£200 price for the Studio Max 2 wouldn’t seem outrageous when you consider the rest of the feature set. We’re not sure we’d want this to be our only pair of headphones – the case is just too bulky for them to be a pair that you’d throw in your bag everyday, there's no active noise cancelling, and they do look big on your head – but for the price, and when compared to the direct competition, there’s plenty to like here.

Verdict

It's hard to say who actually 'needs' low-latency wireless headphones, but if you want a pair for DJing or instrument monitoring, the Studio Max 2 ticks all the necessary boxes and a few more besides, and comes at a very tempting price.

Alternatives

Specifications

Just as with your clothes, it can feel like you’re making a statement when you put on your headphones in public, with others able to judge their style, size and – let’s face it – brand.

It shouldn’t really be this way, though. Now, as ever, the key factors to consider when buying a new set of cans are price, comfort, function, reliability and, most importantly, sound.

Which leads us to Soundcore, an offshoot of high-value tech company Anker, which offers headphones (and other audio/video products) that promise the same kind of performance you’d get from the premium brands, but at significantly lower cost.

Its latest over-ear pair, the Space 2, isn’t the company’s cheapest, but at £130 it has similar specs to products that cost significantly more.

Like the well-received Space One headphones, four mics are used for Adaptive Noise Cancelling, but the processing has been upgraded here for enhanced performance. There’s wearing detection (taking your headphones off stops the music or video; putting them back on starts it again) and up to 70 hours of battery life on a single charge (up from 55 promised hours on the Space One). If you’re short on time and power, you can give yourself a 4-hour boost from just a 5-minute charge.

In terms of sound, the legwork is done by 40mm double-layer diaphragm drivers and, if you’re an Android user, you can make use of the high-quality LDAC Bluetooth audio codec, for improved performance. For Apple users, there’s AAC support.

As you’d expect, configuration of the Space 2’s buttons and settings is handled in an app, where you can also update the firmware as and when required.

Performance

We’ll get to the Space 2’s sound in a moment, but first let’s consider what’s arguably the headphones’ standout feature: comfort. We’ve tested quite a few pairs of cans that sound great but just aren’t conducive to being worn for long periods of time, but Soundcore has made sure that the Space 2 is in it for the long haul, flight or otherwise.

The company claims to have based the design on an ‘anthropometric database’ of more than 2,000 real head profiles, but for us, the high level of wearability comes down to two things: the light weight (just 264g) and the plush-but-not-too-cosy earpads and headband.

Build quality seems pretty solid – the metal hinge/swivel mechanism doesn’t feel like it’s going to break in a hurry – and the headphones fold in on themselves to keep them portable.

And yes, they sound pretty good, too. Even after taking the HearID test in the app, which generates an EQ curve based on your auditory abilities, it took a little bit of tinkering to come up with a profile we were happy with (you can also start with the factory-set ‘Soundcore Signature’ if you wish) but once we had, the Space 2’s sonic strengths became apparent. There’s a slight lack of detail and separation in comparison to some of its higher-priced competitors, but no lack of depth, punch and power.

If you want even better performance – and no latency if you’re making rather than listening to music – then you can opt for a wired connection over 3.5mm audio cable (also useful if you run out of battery power), though there’s no USB audio support. As such, an adapter is probably going to be required if you want to plug into your phone.

As with its predecessor, the Space 2 has impressive noise cancellation capabilities, though the transparency mode – which we’ll admit we rarely turned on during testing – doesn’t feel as useful. As you might expect, engaging noise cancelling reduces the battery life, but not drastically, and almost certainly not enough to justify turning it off. We suspect that most users will just leave it on all the time.

As always, you’ll need to spend a little while getting your head around which button and how many presses does what, but it soon becomes second nature. You might have to consult the manual a few times initially – next/previous track control comes from holding down the volume buttons, which caught us out for a moment – but everything is kept pretty simple.

In fact, simplicity and practicality are very much the Space 2’s calling cards. There are lots of handy features that you might not expect at this price – a dual Bluetooth connections option, which worked seamlessly for us, and even built-in white noise sounds for those times when you want to block the world out – and overall performance is high enough to make you wonder if it’s really worth spending any more on a pair of day-to-day headphones.

Verdict

Combining decent sound and effective noise cancelling in a lightweight, comfortable package, the Space 2 ticks a lot of everyday headphone boxes, and significantly undercuts many of its competitors on price. That sounds like a recipe for success.

Alternatives

Specifications

We're now in the final days of Guitar Center's massive Guitar-A-Thon sale, which ends on the 29th. There’s up to 30% off thousands of items. There are hundreds slashed off everything from Fender to Gretsch, Epiphone to Taylor, and so much more. So whether you’re after a new acoustic, electric, bass, amp, or pedal, you name it, you’ll find it here.

As expected, Sweetwater's Keyboard Month Sale is still live, and again, time is running out to get involved. Korg, Yamaha, Nord, and a whole lot more are all in the mix with some genuinely great prices. Stage piano, synth, workstation, whatever you're after, it's worth a look. The music retail giant has also just kicked off a Headphone Sale this week, which is well worth a look. There are deals across Sennheiser, Kali Audio, Shure, JBL and much more.

It's worth noting that time is almost up on the Musician's Friend Spring Sale, too. With up to 60% off, the range covers pretty much everything: guitars, keys, drums, studio gear, the works. Definitely worth a browse while it's on, but be quick as it won't be available for much longer.

Editor's picks

Looking for more bargains? Check out more recommended sales below:

• Thomann: Shop hot deals
• Fender Shop: Shop discounted Strats & Teles
• IK Multimedia: Save on iRig and AXE I/O
• Plugin Boutique: Save big on plugins
• Positive Grid: Smart amp sale
• Reverb: Save big on top brands

How we choose our deals of the week

Here at MusicRadar, we are experts in our field, with many years of playing, creating and product testing between us. We live and breathe everything music gear-related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our deals.

Our mission is simple - to help you make the best buying decision, find the right gear at the right price, to make the best music you can.

For us to recommend a deal it has to be a product we rate that’s been reduced to a genuinely great price or part of a truly fantastic bundle. It’s also important that we only recommend retailers that we trust.

You can see more of our product recommendations in our buyer's guides and reviews.

Why you can trust our choices

Our editors and writers are all experienced musicians and experts in their fields. They have a deep understanding of the categories that they cover, which means that you can trust their choices when it comes to recommending products.

We pride ourselves on the independence, quality and reliability of our testing processes and the reviews it produces. It’s what has made us the world’s leading music-making publishing company. You can find more details on how we test some specific key product categories, but the principles apply across the board, rigorously assessing build quality, functionality, playability and, of course, sonic performance.

We cover a lot of the big sales events throughout the year, including Memorial Day, Black Friday, 4th of July sales and Amazon Prime Day, and we have a good view of which products are likely to receive the biggest discounts and when, the prices they’ve been in the past and which deals are genuinely worth a look.

Where are the best places to shop?

Online shopping is definitely a lot easier and more secure than it used to be, and we like to recommend a small handful of online retailers who have a sterling reputation and offer fantastic benefits like fuss-free returns, great customer service and, in some cases, full checks and setup of guitars before they are dispatched. So, all the deals we’ll recommend on this page are from retailers that tick these boxes.

What sort of deals should I look for?

Great deals come in all shapes and sizes. There are a few key types to look out for:

• Single item - A single product with a great discount
• Site-wide discounts - A single discount percentage on a large range of products across a site
• Discount codes - Load your basket to a certain value and redeem a discount code for money off your basket contents
• Added value deals - These include multi-buy discounts, or additional products or software for free when you buy certain items

What is it?

With in-ear monitoring becoming more widespread and silent stage setups a reality for more performers, demand for quality in-ear monitoring has grown. Throw in audiophile listeners looking for a more unobtrusive solution than traditional headphones and you have a wide array of users requiring a much broader product offering.

64 Audio is one of the most well-known in-ear monitor manufacturers and has a wealth of high-profile artist users. It produces both custom and universal designs aimed at stage and studio use as well as audiophile listeners, and its top-of-the-range products carry pretty eye-watering price tags. Aspire is its latest universal design and its most affordable product line. Available in four models, prices range between £349 (Aspire 1) and £799 (Aspire 4). In this review, we’re taking a look at the remaining three designs – Aspire 1, Aspire 2 and Aspire 3.

The first thing to say is that all models in the Aspire range look very similar, with only the outside colour and model naming on the nozzle side of the enclosure differentiating them. All versions include a compact rigid storage case, cable with ¼” plug converter, cable clip and left/right labelling, cleaning tool and a choice of both silicon and memory foam tips. Key design aspects include the ABS enclosure, detachable IPX T2 cabling and stainless steel nozzle. Meanwhile, common design technologies include the patented Apex core pressure-relieving channel integrated into the earphone body and the Helmholtz resonator-style micro-cavities 3D-printed into the enclosure.

The key difference between models is the driver configuration and this scales with the model number. Aspire 1 is the simplest, with a single dynamic driver; meanwhile, Aspire 2 combines a dynamic driver for the low frequencies with a single balanced armature driver for the mids and highs. Aspire 3 incorporates three drivers with one dynamic driver for low frequencies and two balanced armature drivers handling mid and high frequencies, respectively. Multiple driver designs incorporate crossovers and this provides 64 Audio with some degree of tuning flexibility. Meanwhile, the Aspire 3 also includes a custom high-frequency waveguide to further finesse its frequency response. Both the Aspire 2 and Aspire 3 use 64 Audio’s proprietary LID circuit to correct the non-linear driver impedances.

Performance

A key aspect of IEMs is the fit, and with universal designs, this depends on both the enclosure and the performance of the nozzle tips. The Aspire units and cabling are both pretty light and the stiffened ear guide section of the cable fits easily over the ear. That said, the cables aren’t particularly formable, so they don’t offer much grip. Should you require a more robust fitting, you might want to find some third-party ear grips.

With regard to tips, the Aspires come with four styles in three different sizes – small, medium and large. These are low-profile silicone, regular silicone, TrueFidelity Foam and Comply Oval foam. The memory foam options achieve a more sealed fit and excellent passive isolation. If you’re after better comfort, we found the classic floppy silicone options to be preferable, although you’ll lose some isolation.

Fitting the tips to the stainless steel nozzle is pretty easy and its flange design ensures the tips remain attached. Indeed, we found that once fitted, the tips were suitably resistant to being removed.

There’s clearly much similarity across the Aspire models, and although the sensitivity and impedance is slightly different between them, in use these differences are negligible. Importantly, we found them plenty loud enough when connected to typical sources, and this is important if you’re using them in a live setting or if you're a drummer, for example.

Sonically, the stereo imaging is universally good and overall delivery across all models is reasonably neutral. Even so, each model does, by design, have a different sonic signature. This is most obvious for the Aspire 3, which is noticeably clearer and more detailed in the mid-range with excellent frequency separation. In contrast, the Aspire 2 has a more traditional sweetened delivery, with slightly boosted highs and lows.

For us, the most neutral offering is actually the Aspire 1, which is reasonably flat, apart from a slight boost in the low frequencies. Even so, this does lack a bit of detail in the mid range, and may therefore be better suited to general listening rather than more critical tasks.

Verdict

Overall, for us the Aspire 3 comes out on top, as it delivers the most detailed mid range, making it ideal for critical listening tasks, recording and live use. Even so, each model has its strengths, with the cheapest Aspire 1 model still delivering very good fidelity. The Aspire range is an excellent addition to the 64 Audio product line, bringing their excellent build quality and design to a more affordable price point.

Hands-on demos

64 Audio

Alternatives

Specifications

Yamaha isn’t necessarily the first name you think of when it comes to audio interfaces, with previous iterations of the company’s hardware usually coming out under the ‘Steinberg’ moniker. That might well change with the release of the Yamaha URX44V, which is very much a modern audio interface looking to make a play against bigger names in the space from Universal Audio, Audient, Focusrite, and others.

The URX44V features four mic preamps, two line outputs, and two main outputs for your studio monitors. It’s got a main USB-C connection for hooking up to a laptop or PC, a microSD card slot that can handle 16-channels of audio, as well as a USB-C sub that allows you to connect an external device like a smartphone or tablet. For content creators, it also has two HDMI ports with an input and a thru that are capable of directly taking a camera or capturing another device like a games console.

It’s not the usual lineup I’d expect to see on an audio interface, and for those who don’t need the extra connectivity, it also comes in a 2-channel and 4-channel version sans any video connectivity. The front panel features two headphone outputs, a connection for a headset, and an additional 1/8-inch aux input.

A 4.3-inch, full colour touchscreen dominates the top panel of the URX44V, alongside a master encoder. Beneath the screen are four endless encoders that control various parameters depending on what’s displayed on the screen. With these encoders, you can control DSP effects on the inputs like gates, compression, EQ, reverb, amp sims, and a voice changer.

Performance

Unboxing the URX44V and plugging it into my MacBook Pro M3, I initially struggle to get it to output sound, which is a first for me when using an audio interface. After updating the firmware and diving into the manual, I navigate through the onboard ‘wizard’ for setting it up for DAW recording, and then I’m able to get it to work with Pro Tools. You can save a bunch of these ‘scenes’ to the hardware for use in varying scenarios, whether you’ve got a streaming setup or you’re just recording your latest song.

Straight away, I’m pretty enamoured with the touchscreen. It’s a first for me on an audio interface, but it’s a very unique way of interacting with this particular type of music gear. In the setup process, I set up a scene that featured a direct input for my guitar, a DI from a Mesa/Boogie amplifier, and an input for a dynamic mic and a condenser microphone.

It gives you a lot of possibilities, no matter what your particular setup is, and the ability to save multiples will make it very useful for those who jump between different roles, so whether you’re a podcaster, streaming video games, or composing for video, the URX44V can act as your hub for all of your inputs and devices.

We’re a music-making site here, however, so I’ll focus on what we do best. Running the Mesa/Boogie amp into Pro Tools, I start by using the auto gain function to get it to set the levels for me, something I admittedly wouldn’t usually do. The feature asks me to play for a bit, so I hammer away at some spiky chords to ensure it catches the hardest transients, and set about playing with the level set, which it does so admirably.

It was about this time that the interface randomly switched itself off, which was surprising as it happened while I was playing. Booting it back up, I dive into the menu and disable the auto-power off, slightly miffed that it interrupted my session. The ability to shape the sound on the way in is something I do a lot in the studio, so having this at my fingertips in the home environment is a really cool addition.

The fact that it’s accessed via the interface itself rather than via plugins also gives it a bit more of a hardware feel that you’d get in a ‘proper’ studio. Pressing buttons and turning knobs, getting away from the mouse and keyboard, makes for a much more fun workflow, which made me more willing to jump into sculpting the sound on the way in versus dragging and dropping plugins onto the signal path.

Despite its myriad connectivity, I did find myself wishing it had an instrument input on the front like the vast majority of other interfaces in this price bracket. It’s something I’ve gotten quite used to from the interfaces I’ve reviewed. It’s not a deal breaker, but if you’re mainly recording at home, you might find yourself missing this.

Verdict

While I rarely use any reverb or gating on the way in, I found the EQ and compressor to be really powerful additions to my workflow while using the URX44V. Carving your sound on the way in is excellent for your overall workflow, and the hands-on feel this interface offers is really intuitive. Although I’m primarily a music-maker, I can appreciate that the ability to save multiple scenes for content creation, podcasting, and other creative endeavours makes it a very powerful interface indeed.

This particular version is probably a bit too much for the majority of music makers, who would be much better off with the URX22 or URX44, and the lack of an instrument input on the front feels like a miss to me as a guitarist. The fact that you need to set it up with a particular scene in order for it to work properly could also throw those who are newer to interfaces, so I’d appreciate it if this were made clearer in the manual.

MusicRadar verdict: The amount of flexibility on offer with the Yamaha URX44V is really incredible, with it meeting the needs of music-makers and content creators alike. It’s got bags of connectivity, and the touch screen makes for a tactile experience that lets you quite literally get hands on with your sound sources. For more advanced producers, podcasters, and streamers, the URX44V could be just the upgrade your home studio needs.

Hands on videos

Alternatives

Specifications

The BBC seems keen to keep the legacy of the Workshop alive, too, regularly posting bits of footage captured at its former base at Maida Vale Studios to remind us of what went on there.

The latest new-old clip dates from 1983, when the Radiophonic Workshop was celebrating its 25th anniversary. “Here they compose collywobbles and cacophonies to order,” we’re informed. “Countless sounds from jangle to jingle. Noises to tickle, to entertain, and even terrify.”

After some chat about the history of recorded sound, and how the arrival of magnetic tape revolutionised our ability to edit it, BBC Radiophonic Workshop Director Desmond Briscoe discusses some of the ‘funnier’ sounds they’ve been asked to create down the years.

“A chorus of glowworms,” he says, and “an Easter Egg factory run by rabbits”. He also mentions “all sorts of monsters, chomping their prey,” and “a halo of bees, for a religious program.”

We then get to see some of the latest technology in action, including a Fairlight CMI, which musician Roger Limb (as opposed to Linn) – a man who’s composed “scores of scores” – uses to play back some cuckoo samples.

“Where is it leading us? I have no idea where it’s leading us,” he says, with a refreshing degree of honesty.

Then things take a decidedly dark turn, as Desmond Briscoe returns to tell us about a new radio show that the Workshop is creating to celebrate its 25th anniversary.

“Out intention is, having used electronic sound, orchestral sound, choral music, that at the end of the program, the listener will find himself alone, in hell.”

This is said without even the merest hint of a smile, making it all rather chilling.

To give a little more context, we believe that the program Briscoe is referring to is Peter Howell’s Inferno Revisited, a modern interpretation of Dante’s poem that takes the listener on a journey through a contemporary version of Hell. Maybe now would be a good time for another update.

Snoop Dogg, Eno, Louis Armstrong, Bowie, Herbie Hancock and Paul Simon are just some of the names from music history who have (again, allegedly) used cannabis at one time or another, while the 1990s alone gave us Boards of Canada, DJ Shadow, entire genres in trip-hop and chillout, and, oh, me, who thought of himself as a British DJ Shadow while smoking his way through the decade.

The trouble was that no-one else saw my 'stuttering beats backed by synth pads' potential, and after I gave up smoking in 2000, I spent the following 25 years making, well, not very much music at all. Probably a good result all round, to be honest.

Recently, however, I've rediscovered weed's medicinal and compositional properties – all legally, I might add – and have seen an explosion in my creativity. My mojo is back, and I think it might be the cannabis that made the difference. So could it work for other people, too?

Not all good

I'll start with the obvious caveat. Using cannabis in many countries is illegal, although an increasing number of territories have decriminalised it to various degrees, and access on a medical prescription is available in quite a few, including the UK, where I live.

I'd also add that, due to the nature of cannabis, it will have different effects on different people, and it has been known to induce psychotic episodes in some users. And while this is relatively rare, we urge caution before taking it, and to seek medical advice where possible.

A good starting point before you continue could be this Guardian article, in which several doctors and scientists take a balanced view and explore weed's possible harms, with one conclusion being that the doses you take and ways you take it are key. Vaping is better than smoking, for example, simply because of the harmful (and potentially addictive) tobacco you mix in with it when you smoke.

An explosion

So, here's the thing: over the six months that I have been taking medically prescribed cannabis, my music making has exploded. In the previous 25 years of using various hi-tech methods to make music, I'd made maybe half a dozen tracks that I would have considered good enough to play out. Over the last six months I have made an entire album's worth, possibly two if I were totally self-indulgent. (And, God help you all – I might even release it.)

So what on earth does cannabis do to improve your creativity and ability to make music? Using it while composing music is obviously not a new concept. In fact, drug use tied to musical chants, incantations and worship goes back thousands of years, and reaching that higher plane of consciousness through music can be traced back through pretty much every ancient culture, not just trance music from the 1990s (although that was pretty great, from memory).

More recent musical genres have been inspired by, shaped and enjoyed with cannabis, including jazz in the early-to-mid 20th century, all sorts of leftfield music from the '60s (also associated with stronger psychedelic drugs), hip-hop, chillout and trip-hop from the '80s and '90s onwards.

I rather like the concept that the entire universe – or even reality if you like – is based on vibrations and frequencies, and that music is one way to become attuned to it. Just ask some current thinkers on ancient civilisations about how chambers in pyramids from completely unrelated and unconnected populations resonate at the same frequencies, and you'll unearth theories of a universal consciousness based on frequencies that unite quantum physics, religion and whatever else you can think of. If nothing else, you'll also end up down a rabbit hole that could ultimately link music to the very core of our existence, which is rather good if you think about it.

If you want to know more about the spiritual stuff, I'll bore you senseless another time, but here comes a more reasoned explanation for cannabis's musical chops.

The science bit

The science says that cannabis unlocks several superpowers which can help with music. OK, I'm exaggerating slightly, but it does help lift some of the restraints that, as music producers, we often find ourselves working under.

Cannabis contains THC (Tetrahydrocannabinol), which works like the natural endocannabinoids within the body that help us with sleep, mood, appetite, pain and memory. However, it works slightly differently and unpredictably, binding with receptors in the brain to release different neurotransmitters which enhance some senses and shift others. Throw dopamine in for that feelgood factor and that is your cannabis trip right there.

Again, what happens next will vary depending on mood and surroundings, but there are some common cannabis side-effects that are great for music. It reduces inhibition, for example – very much something that can hold some producers back – which obviously means you are more likely to try something new. With a more relaxed attitude, you're more likely to explore compositions, melodies and genres you might not have previously.

Following on from this, cannabis is also cited as an enabler for a more diverse approach to your music making. This means you are likely to get a greater number of ideas from a simple sound or melody, which is not only fantastic for creating tunes from scratch, but also for remixes – the number of 'ideas' that I had lying around on my hard drive for decades that I have now completed is testament to this aspect of weed.

Cannabis is especially good for more free-flowing genres like jazz, and who hasn't stuck on some ambient or chillout music while stoned and then tried to recreate it (yep, my hand is up)? It can also increase your perception of the music, where certain elements are enhanced, layers feel more distinct, and basslines are (yes, of course) more, well, groovy.

All of these are advantages for the musician, but some are double-edged swords. An increase in focus that comes with weed can also mean tinkering around on a bassline or kick drum for hours. Then there's the opposite effect, where a lack of focus will have you forgetting what you were just about to do, or what project you were about to open.

Again, one important factor to stress with all of these pros and cons is that effects will vary from session to session, and the cannabis strain and dose. Once again, go with the flow: if something doesn't feel right, ignore it, and don't feel forced into doing anything. This alone will make your music creative process that much more fulfilling and less stressful.

Going where the music takes you is a beautiful way of looking at it, and while you might not go in a direction you particularly wanted to travel, it usually ends up as a fantastically rewarding experience, with music you might never have dreamed of. It certainly worked for me.

Useful contacts

UK

NHS

Drug and alcohol support

Medical cannabis in the UK

US

DEA cannabis fact sheet

Help for substance abuse

The Rode PodMic USB is a broadcast-style dynamic microphone that tries to solve a very modern podcasting problem, namely wanting the tighter, room-forgiving sound of a dynamic, but with the convenience of USB. Rode’s answer is a dual-output mic with both XLR and USB-C, a built-in headphone output for zero-latency monitoring, and onboard APHEX processing you can control through Rode software. In other words, it can behave like a classic interface mic one day, then become a simple plug-and-play desk mic the next without changing your whole rig.

My test setup was a typical home studio desk: laptop with an external monitor, small nearfields on foam pads, and a regular wireless typing keyboard whose clicky keys always seem to find their way into voice recordings. The PodMic USB was tested using a boom arm clamped to the desk, angled slightly downward so I could work close without blocking the monitor, along with a separate mic stand. I ran it into a DAW for voiceover and sung takes, plus a few live calls in the middle of the week and a bit of acoustic guitar when I probably should have been working…

Rode PodMic USB review: Performance

If you already know your way around USB mics, the Rode PodMic USB immediately feels like it is built for the recurring, important parts of recording. It is a dynamic end-address mic with a tight cardioid pattern, and that combination is pretty established as the ideal pairing for untreated rooms. You can work closer than you would with a typical USB condenser, leaning into proximity effect for that thicker broadcast tone, and keeping more of the room out of the capture simply because the mic is not as eager to scoop up reflections and desk ambience. Rode’s own placement guidance backs this up too, with the mic happiest at close distance where speech stays present and confident.

In my temporary desk setup, good sounds arrived fast. Like, almost instantly. With the mic about 5-inches away, slightly off-axis, it gave me a firm low-mid foundation without turning consonants into a spitty mess. The voicing is warm and full-bodied, but there was enough clarity to keep intelligibility intact, which is exactly what you want for podcasts, narration and streaming. I tracked three common scenarios: a straight voiceover read at consistent distance, a more animated faux-YouTuber segment with bigger level swings, and a quick sung chorus where plosives and proximity can get unruly. Across those, the PodMic USB stayed composed as long as I treated it like a broadcast mic, meaning close placement and controlled angle rather than sitting back and hoping the mic could do it all.

The physical design is a big part of why it works on a desk. The integrated swing mount makes positioning easy, and the mic is properly heavy, which helps it feel stable and planted once it’s in place. The flipside is that the weight and leverage really do ask for a solid arm and a decent clamp, especially if your desk has any wobble. As with any boom-mounted mic, you remain at the mercy of your overall desk stability - like a drunken ski lesson, any wobbles in the legs are going to come back to haunt you.

On a lighter stand placed directly on the desk, the mic will tend to translate vibrations into low thumps. Rode includes internal measures to reduce vibration, but I definitely noticed desk-borne handling noise when the mic was stand-mounted on the same surface as my hands and keyboard. I saw the same behaviour in a controlled way by tapping the desktop and shifting my forearms. Moving it onto a boom arm reduced those knocks immediately because the desk stopped being part of the mic’s mechanical path.

The onboard USB side is where the PodMic USB begins to show its strength. Rode builds in its Revolution Preamp design and pairs it with APHEX processing, and the feature set is aimed at getting a finished voice quickly. You have access to the core tools that home studio users actually lean on for speech: a high-pass filter to lose excess rumble, a compressor for level control, a noise gate for pauses, and the APHEX-style enhancement that can add brightness and perceived weight - when used gently. Those options are spelled out in Rode’s documentation, and in practice they work best when you resist the temptation to overdo them. A light high-pass plus moderate compression was the sweet spot for me because it kept the mic sounding natural while still delivering consistency.

Monitoring is another practical win. The headphone output is designed for zero-latency listening, which means you can hear yourself without the annoying delay that can show up when you monitor through a computer buffer. That matters more than people admit, especially when you are trying to speak with natural pacing or record vocals where timing is everything.

Slightly less positive is noise or hiss that’s tied to gain staging or setup rather than the capsule itself. One example is hearing low level noise out of the box, then pushing processing or gain hard and hearing hiss as a result, sometimes even in the recorded signal. That kind of complaint comes up in the wild often enough that it is worth mentioning as a risk factor, not a certainty. In my testing, I only heard obvious noise when I forced extremes, like cranking monitoring volume unnecessarily high or stacking unnecessary gain in software after already boosting in-app. The sensible approach is to set the mic gain correctly, stay close to the grille, and use DSP as seasoning rather than a rescue act.

Another real-world quirk is firmware and connectivity behaviour. Rode’s own support guidance repeatedly points out that updates can fail through some USB hubs, and that direct connection is the safer route. The takeaway for buyers is simple: if you plan to use Rode Central or related apps, do your first setup plugged directly into the computer with a reliable cable, then confirm your settings before you build habits around it.

Against the obvious competitors, the PodMic USB has clear strengths. Compared with a Shure MV7, it’s closest competition, you are in similar territory sonically and conceptually, but the Rode leans hard into software-controlled APHEX processing and the dual XLR plus USB workflow, while Shure leans into its own app ecosystem and a very established broadcast heritage in dynamics. The MV7’s published response range is narrower than the PodMic USB’s headline bandwidth, but in practice both are voiced for speech, so it might come down to your own personal preference.

Compared with budget dual-output options like the Audio-Technica ATR2100x-USB and the Samson Q2U, the PodMic USB is less of an entry-level mic and more of a solid, sensible option you can grow with. Those mics are all excellent value and very capable, but the Rode is built like a studio tool, ships with a proper pop filter, and adds onboard processing that can save time when you are bouncing between streaming, calls and DAW work.

Where it outperforms a lot of desktop USB condensers is simply how forgiving it is. In a normal room, a dynamic like this lets you get closer, reduce room tone, and keep the voice anchored even when the environment is not perfect.

Rode PodMic USB review: Final verdict

The PodMic USB is for people who want a broadcast-leaning voice sound without turning their desk into a small-format studio every time they record. As a dynamic mic with a tight cardioid pattern and a close-working sweet spot, it rewards deliberate placement and gives you a more controlled capture than most condenser USB mics in the same kind of room. If your space is lively, your desk is noisy, or your workflow involves talking more than singing, that alone is a strong reason to look at it.

Its strongest selling point is versatility. You get XLR for traditional interface or mixer setups, USB-C for plug-and-play, a headphone output for zero-latency monitoring, and onboard processing tools that can take you from raw to finished faster when you are working across different apps. That is a very modern feature set, and it is implemented in a way that makes sense for home users who jump between a DAW, a streaming app, and everyday calls.

The cautions are mostly about setup and expectations. It is heavy enough that a flimsy stand can become part of the problem, and desk-borne vibration is a known annoyance if you mount it on the same surface you are typing on. Put it on a decent boom arm and most of that disappears.

The other caution is noise complaints that show up when users push gain or processing aggressively, or when USB power and firmware setup are not ideal. Treat it like a proper broadcast mic, stay close, update it sensibly with a direct connection, and it is far less likely to bite you.

If you are choosing one desktop mic to cover podcasting, streaming and clean home-studio voice capture, the PodMic USB makes a strong case because it stays practical while still feeling like it was more expensive than it actually is.

Rode PodMic USB review: Alternatives

Rode PodMic USB review: Hands-on demos

Podcastage

Dark Corner Studios

Nexgen

Rode PodMic USB review: Specifications

In a world filled with decent quality, low-cost USB microphones, brands have to generally pick a feature or lean on their reputation in order to stand out. Some can do both, like Rode, but how does the Rode NT-USB+ stand out right now, some four years after its launch, when there’s just so much competition? Let’s take a look.

Essentially, the Rode NT-USB+ is the superpowered upgrade to the venerable NT-USB, bringing onboard monitoring, an enhanced preamp and DSP magic to help users get better results with less effort. It’s built for the reality of home recording - one mic, one cable, and you’re ready to record, stream or chat without any of the hassle associated with audio interfaces, XLR cables and the like. It connects via USB-C, runs class compliant on computers and most mobile devices, and records at 24-bit/48kHz.

Rode’s philosophy is simple. It takes the simplicity of a standard USB mic and, using onboard wizardry, opens the door to quality and performance levels more normally associated with a higher class of equipment. Of course, some of this additional innovation requires an app to unlock, but that isn’t unusual these days.

To test the Rode NT-USB+, I tried to treat it like a real purchase, not a showroom demo. It lived on my very messy desk, next to my laptop, and slightly off centre from a large monitor with nearfield monitor speakers to the sides. Tests involved recording voiceover takes, the occasional sung vocal line (much to my family’s dismay), Teams calls and a couple of quick takes with the trusty acoustic guitar by my desk. Monitoring was handled by the onboard headphone out - more on that later.

Rode NT-USB+: Performance

The first thing experienced USB mic users listen for is noise - that annoying hum you hear when the gain is raised - and thankfully the NT-USB+ is reassuringly quiet in a normal gain range. Often you only notice once you start compressing or stacking takes, but here the baseline cleanliness is enough that I could do a spoken take, add gentle compression in the DAW, and not immediately regret it. That alone makes it feel like Rode spent the money where it counts, namely the preamp and conversion, rather than bolting on eye-catching features that look good on a box. RGB lighting anyone?

Tone-wise, it lands in a sensible place for content and music. On speech, it has that present, articulate midrange that makes diction easy without sounding overly hyped. This may or may not be a good thing for you - some producers actively seek out mics that have a colour or flavour of their own, and the Rode on test here just isn’t that mic. That said, there’s plenty that can be done once your takes have been recorded, and a good, clean take is always preferable to one that requires lots of work afterwards.

On sung vocals it stayed composed as long as I did the usual home-studio discipline: capsule slightly off-axis, pop filter on, and distance close enough that I could keep the gain at a sensible level. Rode even calls out the pop filter as part of the intended workflow, and despite looking a little plasticky, it is not just filler in the box. I found it genuinely helped tame those nasty plosives when I was working close, which is where cardioid condensers shine.

That cardioid-only approach is also part of why it can outperform the usual “everything mic” competition. A Blue Yeti, for example, gives you multiple patterns, but I’d bet most buyers leave it in cardioid anyway, and the extra capsule geometry can make placement more fiddly. The NT-USB+ asks you to commit to one pattern and then rewards you with straightforward positioning. In my desk setup, turning the mic a touch away from the keyboard reduced key noise more predictably than leaving the mic square-on and trying to fix it later. It still hears your room because it is a condenser, therefore sensitive to any and all sounds, but it makes it easier to keep the recording focused.

Monitoring is where this mic starts feeling like a tool rather than a toy. The headphone output is powerful enough to be practical, and the mix control is great. Being able to blend direct mic with computer playback means you can track without the slapback latency that kills confidence, especially on vocal phrasing. When I ran a vocal over a busy instrumental, I could keep the direct signal prominent for timing, then bring the DAW return up just enough to stay musical.

The other big differentiator here is DSP that lives with the microphone. Through Rode Connect, Central or Reporter you can enable a high-pass filter, compressor, noise gate and APHEX sweetening, and those settings can be saved so they travel with you when you move the mic between devices. That is useful if your workflow involves a DAW on the desktop, a laptop for calls, and a phone for… phone things. I tested this by dialing in a simple speech chain, unplugging, and then recording a short take on a second machine. The same processing was there, which makes the mic feel consistent across your workflow. Nice touch!

There are some quirks to report. One recurring theme I found when researching how other users had got on is noise that appears only in the headphone output, not in the recorded signal. In my case, I could provoke a faint hiss by cranking the headphone level higher than I would ever use, and it reminded me that onboard headphone amps are inherently sensitive to USB power and grounding. Other users describe constant hiss or static in the headphone jack regardless of knob position, with recordings staying clean, which points to monitoring circuitry and power conditions rather than the capsule itself. If you hit this, it is worth trying a different USB port, avoiding an unpowered hub, and testing with a second computer before you assume the mic is faulty. It can be annoying, but your takes will generally be fine.

Another practical quirk is that the NT-USB+ will expose how desk mounted your desk mounted mic setup really is. If the stand is sitting on the same surface as your keyboard, you may hear thumps and taps more than you expect, especially if you are used to a mic with a chunky base, like the Yeti. In my setup, sliding the stand onto a small foam pad I had been using to isolate a monitor speaker reduced low bumps immediately, and moving the keyboard slightly further away did more than any noise gate. This is not a flaw so much as the reality of a sensitive condenser placed in a busy desk environment. Nobody has cracked the code yet, so it’s harsh to criticise Rode here.

Competition-wise, against the Blue Yeti, I definitely felt like the Rode is more purpose-built for a single person workflow, and the DSP plus saved settings are a real advantage if you move between apps and devices. Against an Audio-Technica AT2020USB-X, the AT gives you higher sample-rate options up to 96kHz and a slick touch-mute, but it does not offer the same APHEX-style onboard processing ecosystem. Against an Elgato Wave:3, Elgato’s Clipguard concept is excellent for people who get unexpectedly loud, but the Rode’s broader approach, using DSP, makes more sense for hybrid music and content users.

My overall take from the home-studio test is that the NT-USB+ is strongest when you treat it like a proper microphone. Get it close, use the included pop filter, monitor directly, and either keep it clean or use the onboard processing gently. Do that, and it delivers a polished result with less hassle than most desk USB mics at this level.

Rode NT-USB+: Final verdict

The Rode NT-USB+ is the rare desktop USB microphone that feels comfortable in a music workflow, not just a streaming one. It gives you the basics you actually use, namely a cardioid condenser capsule, solid conversion at 24-bit/48kHz, proper direct monitoring, and the kind of gain structure that does not force you into extreme settings just to get a healthy level. If you are recording vocals, voiceover, acoustic guitar scratch parts, or regular online calls, it sounds clean and present with minimal effort, and it responds well to sensible placement.

The reason it earns a stronger recommendation than many of the other desk mics I’ve tested is the ecosystem around it. The onboard DSP is not just marketing buzz-speak. Being able to add a high-pass filter, dynamics control, and tasteful enhancement, inside the mic, can save time when you need a consistent broadcast-ready tone across different apps. The fact you can save those settings to the microphone itself matters in real life, especially if you bounce between a DAW, streaming software, and mobile recording.

There are two caveats I would mention to anyone coming from a Blue Yeti or similar. First, you lose multi-pattern flexibility. If you regularly record two people around one mic, or you genuinely use omni for room capture, the Yeti’s pattern switch still has value. Second, pay attention to monitoring behavior. You may experience hiss or static in the headphone output that does not show up in recordings, and while it can be down to power, ports, hubs, or grounding, it is something you should test early within your return window. Or make peace with the fact this is a common occurrence with USB microphones.

If, however, your main goal is one-person vocal capture on a desk with a clean signal, easy monitoring, and a sensible path to a finished sound, the NT-USB+ is one of the most rounded choices in its bracket. It does not try to be everything. It tries to be the one USB mic you stop thinking about once you take it out the box.

Rode NT-USB+: Alternatives

Rode NT-USB+: Hands-on demos

Rode

Tom Buck

Podcastage

Rode NT-USB+: Specifications