Flufs is the loudness meter and analysis tool for Ableton Live (Max for Live) you’ve always wanted. But more than that, it’s designed to be accessible to blind, low vision, and sighted users alike. And if that’s interesting to you, there are more developer tools on the way.

An Armed Forces of Ukraine unit in the south of Ukraine depends on John Object’s 1991 Opel Frontera crossover SUV. You know what to do: support Timur, support Ukraine, get new music, and replace this broken car. Be a better friend and ally than the USA is at the moment. There’s more to say so – I’ll just say it.

It took decades, but we freed ourselves from analog formats and sound degradation and entered a perfect digital world online. So, let’s use our Web browser to add all the sound artifacts of vinyl back in, for free!

Moog’s own “multisensory” synthesizer now has full Spatial Audio support so that the sound-producing comets you see in immersive mode can synthesize sound live in space. The app is exclusive to Apple Vision Pro and visionOS, but it could be a sign of things to come.

It’s 303 Day. Roland is giving away licenses for its TB-303 plug-in if you act fast. The Internet, for its part, will make you feel like you’re actually on acid. Let’s go.

We’re all deeply saddened to learn of the passing of Mr. Seiki Kato, who across multiple decades at KORG lead the teams that helped define what the modern company is today. He was 67.

It’s not every day you get to see this lineup – Moog Music meets the Bob Moog Foundation with Michelle Moog-Koussa, Lisa Bella Donna, Suzanne Ciani, Brian Kehew, Steve Dunnington, King Britt, and Rory Kaplan. Moog just posted the video from NAMM last month. And speaking of the Moog Foundation, they’ve also got a big raffle going – and, surprise, it’s for an Oberheim synth, not a Moog.

Krzysztof Cybulski’s Kamer/Ton takes everything you love about video feedback loops and combines them with everything you love about zero-input sound feedback loops, in a flickering and vibrating audiovisual instrument.

To tackle the issue of noise pollution, Warszawa’s panGenerator brought immersive, spatial sound to the philharmonic. But they didn’t make that spatial audio virtual: tracks, skateboard motors, and speakers on karts put this installation into physical motion.

Over 20 years later, Apple’s Sculpture instrument still vibrates, resonates, and morphs like no other physical modeling synth. It’s crazy, unruly, sometimes delightfully unpredictable – you just need to find your way in. So let’s return to some “vintage” tutorials to do just that, especially as there’s a good chance you’ve got Sculpture just waiting for you inside a copy of Logic Pro.