Envelop began life by opening a space for exploring 3D sound. But today, the nonprofit, directed by artist Christopher Willits, is also releasing a set of free spatial sound tools you can use in Ableton Live 10. We’ve got an exclusive first look.

It ran natively in MS-DOS, then died by the end of the 90s. But now it’s back: one of the greatest chip music trackers of all time has been cloned to run on modern machines.

Maybe it’s time for the idea of a “commons” to get a new boost. Whatever the reason, BBC’s 16,000 sound effects are available to download – but with strings attached.

The death of 28-year-old star producer/DJ Avicii comes as a shock to many. It’s also easy to reduce to another example of party world excess, or to say it’s just about big-money EDM and pop. But it should be a bigger wake up call than that.

The music world is overloaded with people who talk about music – how it works, what has happened, what is happening. Few people can really delve articulately into questions of why. Susan Rogers is one of those few.

In the late 1970s in China, one inventor created a futuristic take on traditional instruments – and it easily still inspires today.

There’s a big push among software makers to deliver integrated solutions – and that’s great. But if you’re a big user of both, say, MASCHINE MK3 and Ableton Live, here’s some good news.

The growing power of gaming architectures for visuals has a side benefit: it can produce elaborate visuals without touching the CPU, which is busy on musicians’ machines dealing with sound.

Serendipitous collaboration can be magical. Combine an eccentric high-tech guitar company from Switzerland with some high-powered nerds from the USA, and you get some spectacular ways of adding sub octaves and picking apart and modulating sounds.

Uli Behringer is apparently just getting started trolling the industry, promising US$49-99 Eurorack. But so far, that announcement involves renderings of Roland gear and a plea for user forums to tell them what to do.