Last weekend, we sat down with house legend, UKG innovator and sampling wizard Todd Edwards for a wide-ranging conversation that surveyed his 34-year career, touching on his iconic first UK show, his multiple Daft Punk collaborations and his take on contemporary DJ culture. During our chat with Edwards, he also gave us an insight into the gear and production techniques behind his signature style of house music, which collages deftly chopped samples over low-slung beats and deep, fluid basslines, influencing everyone from Burial to Disclosure. As is so often the case with pioneering electronic artists, Edwards' singular sound was shaped in large part by the limited technology that he had access to. In our conversation, he paraphrases Orson Welles, suggesting that limitations like these motivate artists to take their creativity to new heights. Looking back to his early days, Edwards tells us that his first piece of gear was an Ensoniq EPS sampling workstation, which lent his tracks a gritty 13-bit sound and his famous swing, born out of the ESP sequencer’s quantization. "It came out of me trying to imitate Masters at Work's drums," he recalls. After getting paid $2000 for an early remix—a take on St Germain's Alabama Blues that would ultimately catch the attention of Daft Punk—Edwards bought an Ensoniq ASR-10, loaded with effects and more sample time. (He had to borrow a friend’s Ensoniq EPS to double his sampling power in order to make the remix—the machine had a paltry maximum of 41 seconds at its lowest sampling rate, and less than 5 at 52.1 kHz.)READ MORE(Image credit: Press/Todd Edwards)"He’s the musical Jesus": Todd Edwards on his second coming with Daft Punk, stage fright and why house producers need to stop rehashing old ideasThroughout the ‘90s, Edwards upgraded through successive rackmount Akai samplers—the S2000, S3000 then S6000—which despite their increasing levels of sophistication, were still lightyears behind the convenience of modern software. "With the S6000, it took minutes to stretch small samples, and even then it might not sound good," he says. "But now it’s just instantaneous, the way you can tweak things. You kids don’t know how good you have it! [laughs]"Searching his studio for formative pieces of gear that shaped his sound, Edwards singles out the Roland Juno-106. "This was the first analogue synthesizer I ever got," he recalls. "I worked at a music store called Rondo’s Music, I was a cashier. Someone was selling it used and I bought it for $200. You can get them for $1500 now!"Working with such a stripped-back set-up at a time when gear was prohibitively expensive, Edwards was forced to find creative workarounds. "When I started out I didn’t have any effects units," he remembers. "If I wanted a delay or an echo, I would have to loop the sample with a fade in it to emulate a delay. If I wanted to emulate a reverb, I’d have to put a very low release on the sample."Edwards famously collaged hundreds of short samples together to create the music and lyrics he wanted, resulting in a thrillingly fresh sound that he continues to expand on to this day. "I didn’t have keyboards—aside from the Juno, there was no keyboard, so I literally had to use samples as my musical instruments," he says. "This whole cut-up sound came from a lack of keyboard equipment… I was treating records like paints, like raw materials."Given how Edwards incorporates hundreds of micro-samples in some of his songs, it would be a Herculean task to clear them. As AI makes it easier to identify samples and copyright lawsuits become increasingly commonplace, Edwards has been compelled to take a different approach."In the beginning of 2025, I felt like I was going through the motions. I was feeling down. I was trying to make samples without samples, but I missed going through records… I was making my own samples by playing synths or using Splice. It just got depressing," he explains. While he's initially hesitant to discuss his excitement about the creative applications of AI, Edwards decides it's time to lay his cards on the table, telling us that using AI music platform Suno Studio to generate material to safely sample has reinvigorated his joy in making music."There’s so much potential there, and it’s been able to reignite the idea of what you can do as a sample artist," he says with enthusiasm. "I resent the way people talk about this technology as if it’s from the devil. I feel like the seasoned producer will see it as a potentially powerful tool, but the amateur or the person that doesn’t have the skillset will see it as a threat.""What ticks me off is that there’s so many negative things that get said," Edwards continues. "They say ‘you’re taking money out of artists’ mouths’, but I’m sorry, I don’t remember every single artist on Beatport clearing samples! Is everyone clearing samples? Because if you’re not, it’s the same thing, just on a smaller scale." You can make amazingly beautiful shit if you actually put some musical ideas in there. It acts like a co-producerIn Edwards’ view, using AI to generate stems to sample is no less creative than combing through Splice for loops. "They say that it’s synthetic, but you’re using Splice packs," he says. "You’re using other people’s sounds and you’re paying a credit to do that. If you build a whole track out of loops, that’s no different, in my mind. The hypocrisy in the industry is insane.""You can make amazingly beautiful shit if you actually put some musical ideas in there. It acts like a co-producer, I’ve seen what it can do. If you prompt alone, it’s gonna sound very generic. But I can put ideas in, make my own disco or soft rock songs, then take that out, cut them up and use them as samples, and never worry about another lawsuit again—because it’s mine, all of it."Electronic music was born from using technology in fresh and unexpected ways. While there’s plenty of uninventive new music made with and without AI, how will AI reshape the sound of dance music? Can it be a powerful tool in the hands of innovators?"Do you think I need to use AI? I've been making music without AI forever. I'm using it because it's an amazing adventure, I wouldn't be doing it if it wasn't. I know how to play chords. You could take away my sampler, and I'd still be able to make dance music and house music and garage," he says. "It frustrates me to hear people bashing something that's so amazing. I guess it's all about how you use it."

"The hypocrisy in the industry is insane": House legend Todd Edwards on sampling Suno

What is it?Having owned an HX Stomp for many years now and been a big user of Helix Native, I jumped at the opportunity to review the latest iteration of Line 6’s software offering in Helix Stadium Native. Arriving not too long after the hardware units, it promises some serious upgrades over the old one and, somewhat unusually for the world we live in, stays at the same price.However, $/£399.99 is a lot to pay for software. Admittedly, I got the original for £99 as a Helix hardware user, and to be totally honest, I don’t think I’d have paid full price. It is often available at a discount, however, so if you’re willing to wait for a sale, then you can sometimes get it for half price. It’s definitely a steep entry point, although for some it will be worth it thanks to the huge number of amp and effects models included, and the regular updates the original received.New to Helix Stadium Native is the ability to load Proxy Clones, Line 6’s version of amp and effects capture. It supports up to 48 clones per preset. Cab IRs now run at 32-bit float, and every cab block now has the option for dual sounds. You can place effects between linked amps and cabs, and sidechain dynamics and certain filter blocks. (Image credit: Future/Matt McCracken)The UI has had an upgrade with higher-resolution graphics, with a graphic control of mic placement and EQ, plus a graphic view of impulse response curves. You can now search the plugin for presets or blocks, DAW integration is improved with clear names in the automation lanes, and the tuner has been improved upon.You can import your old presets from Helix Native, but they won’t go the other way. Ditto with trying to use presets from Stadium Native on non-Stadium hardware. The minimum requirements have also changed, with Stadium Native requiring 8GB of RAM and 1GB of hard drive space, where the previous version needed 4GB of RAM and just 100MB of disk space.If you’re unsure about committing such a huge amount of cash, Line 6 offers an Intro version you can download for free. It’s got 5 Agoura amp models and 16 effects you can sample, as well as the ability to load four Proxy Clones per preset.Specs(Image credit: Line 6)Launch price: $399.99 ($99.99 upgrade for existing Helix Native and Stadium hardware users available)Type: Amp modeller and effects plugin.OS: macOS v14 Sonoma, 64-bit (Intel and Apple Silicon processor types are supported); Windows 11 64-bitAmps: 27 Agoura, 111 HX, 46 cabsEffects: 274System requirements: Intel i5 or M1 2.50GHz processor or higher, 8GB of RAM, 1GB of free disk space. An Internet connection is required for initial license authorisation and for using the 15-Day Trial version.Plugin Formats: On Mac, 64-bit AAX Native, Audio Units version 2 (AUv2), VST3. On Windows, 64-bit AAX Native or VST3. Available on up to 4 different computers.Contact: Line 6Usability and features(Image credit: Future/Matt McCracken)Usability and features rating: ★★★★½Installing Helix Stadium Native on my laptop is a breeze. I activate it via the code on the Line 6 site, download the software, and follow the installation process. I then head to my DAW of choice, Pro Tools, sign in, and I’m ready to go immediately. It pops into my plugin folder under ‘Instruments’ alongside my previous version of the software; no need to search for the raw files and put them in the correct folder.I plug a HSS Sire S-type into my audio interface, set my levels, load an instance of the plugin on a stereo channel, and I get a sound immediately. So far, so good. It looks remarkably similar to the previous version, but everything is much higher definition. It’s a noticeable change, with sharper blocks and bolder text, but overall it looks very similar, and I’ve got no issues getting stuck into moving things around the signal path.The window is resizable, which is good as there are so many amps and effects in the lists at the bottom half of the window, and it remembers the size I set it at when clicking back and forth between the mix window of my DAW and the plugin itself.(Image credit: Future/Matt McCracken)New for this version is ‘Focus View’, accessible via a click of the aperture icon on certain amps and cabs. It unlocks a fresh graphic mode, and on the amp models allows you to drag a red circle around to quickly dial in sounds. This mode is also available on many of the effect blocks, making quick overall changes very simple. On a cab block, this function lets you move the mic further or closer to the amp, or closer or further away from the centre of the cone.Continuing through the presets, I come across one called ‘Brit MegaGuitar’, with a lot of blocks in it. Activating all 16 blocks, I’m amazed that I’m able to run it with my audio interface at 32 samples, even with a pitch block in there, which is notoriously DSP-heavy. There are no pops or clicks as I run through some Oasis-inspired leads, as per its namesake.(Image credit: Future/Matt McCracken)As I start getting into recording some demos, which you’ll find further down the page, I start to notice that it takes a second or two for the Helix Stadium Native plugin instance to load when I click it. When recording, I’m often moving between the mix, edit, and plugin windows, and I keep thinking that I’ve misclicked when, in fact, it just takes a while to load up. It’s something I get used to, and it could also be a Pro Tools-specific issue, but it would be great if it loaded a bit quicker to speed up the workflow when I’m in the midst of inspiration.The dragging and dropping of blocks will be intuitive for all sorts of playersAnother thing that irks me is that the button to activate the blocks is absolutely tiny. When a block is deactivated, it's quite faded, so hitting that button accurately every time becomes a problem for me. A better workflow might be to double-click to activate; either that or make the button a bit more obvious, as there’s plenty of space for it.These small niggles aside, it’s just as easy to use as the previous version. The dragging and dropping of blocks will be intuitive for all sorts of players, and even things like loading the Proxy captures are easy enough thanks to the ‘Show Finder’ button in the appropriate window. Some may call it outdated, but I think the workflow is great for recording guitarists who want to quickly be able to move stuff around in the signal path and get to a good result quickly.Sounds(Image credit: Future/Matt McCracken)Sounds rating: ★★★★½With such a huge number of sounds contained within, it’s difficult to get across the length and breadth of it in just this review. I’ve added some sound samples for you further down the page if you want to get hands-on, but I also highly recommend trying the free tier to hear it for yourself. I test it by running through the presets to see what’s on offer, and the first to catch my ear is the aforementioned Brit MegaGuitar, which is based on the Marshall Super Bass amp.On its own, it’s warmer and cleaner than the more popular Plexi, making it a great platform for ladling on the various effects in the preset. When I stack a fuzz, clean boost, and overdrive into the front end, it retains its clarity and continues to do so as I add three delay blocks and two reverbs into what is a rather busy signal path. It sounds awesome, and I’m immediately impressed with the quality of the presets that have clearly had some attention paid to them.Next up is the Callisto Chatter preset, which takes a Fender Deluxe Reverb model as its clean base, and adds a shedload of delay blocks into the signal path. It results in a self-oscillating tone that absolutely could be the communication of satellites in orbit. Without the effects, the Agoura amp model recreates the sound of a black panel Fender remarkably well, clean and clear with that mid scoop and a touch of breakup when I really dig in with my pick.(Image credit: Future/Matt McCracken)Again, the sounds of the Agoura amps are incredibly lifelike, reacting beautifully to my picking dynamicsThe dual Twin Reverbs from the Double Double preset are next, with each amp panned hard left and right for some glorious stereo sounds. Here I want a little more, so I set each amp using the focus control, with the left one to get it a bit more present in the overall balance. Again, the sounds of the Agoura amps are incredibly lifelike, reacting beautifully to my picking dynamics, and responding realistically when I stick a Klon clone block in front of it.The incredibly fun Knife Fight follows, again with two amps panned hard left and right. In this instance, it’s an Agoura Ampeg SVT and an Agoura Soldano Slo-100, perfect for some hard rock riffs. I add in a fuzz based on the Zvex Fuzz Factory for the Ampeg and a modded DS-1 model for an absolutely titanic rhythm sound that keeps me playing for a good half an hour.I also land on the Orange Rockerverb 100 Agoura emulation, which is a relative of my own tube amp, the Rocker 32. It’s got that classic Orange midrange punch in spades, with plenty of oomph in the low end and a smooth overdrive sound. Again, I find the focus view really useful here for dialling in a quick sound, which I can then perfect with the individual controls. It’s the mark of a good tone when I can keep having fun playing despite the fact that I’m sitting in front of a laptop rather than a full-blown tube stack.Verdict(Image credit: Future/Matt McCracken)With such a huge array of sounds on offer, Helix Stadium Native delivers any sound a guitarist can ask for. It’s really easy to set up and use if you already know your way around a DAW, and for the most part, the UI is very intuitive. Changes to the signal path happen quickly, and there’s a huge number of options for sidechaining and signal splitting, as well as clearly marked automation options if you want to get really in-depth.It is very expensive, thoughIt is very expensive, though, especially if you consider things like Universal Audio’s Paradise Guitar Studio, which retails at half the price and can often be found cheaper on sale. The UA option isn’t as complete as this, though, and offers much less flexibility with signal routing and tweaking the cabs. Some users will also bemoan that there’s no standalone option if you just want to quickly play while plugged into your interface.MusicRadar verdict: For non-hardware users, it’s a pricey option, but if you want a huge amount of choice and flexibility in a self-contained unit, it’s hard to look past Line 6 Helix Stadium Native. The sheer number of amps and effects on offer make it one of the most complete guitar plugins out there, and the quality of sounds is such that you won’t be disappointed when it comes time to mix your recordings. The lack of a standalone version might put some users off, but if you’re already using a DAW, this could well be the amp simulator to rule them all.Ratings scorecardTestResultsScoreUsability and featuresA huge number of models and very easy to edit signal chains.★★★★½SoundsInnumerable sounds are available with this, all delivered with fantastic quality.★★★★½OverallOne of the most complete and best-sounding guitar plugins around.★★★★½Also tryUniversal Audio Paradise Guitar Studio$199If you want a suite of sounds that don’t require much tweaking, UA’s Paradise Guitar Studio is the one to buy. It’s not as in-depth as Helix Stadium Native, but it sounds fantastic and gets you results fast.Read more: Universal Audio Paradise Guitar Studio reviewIK Multimedia Tonex$99.99Focusing more on amps and saturation effects via captures, IK Multimedia Tonex is a great option if you just want quality amp tones. With a few additional tools, you can make your own amp captures, and it’s integrated with Amplitube 5 if you need effects.Read more: IK Multimedia Tonex reviewPositive Grid Bias X$149With Positive Grid fully committing to the new world order of AI, Bias X offers up a huge selection of amp and effects tones, all augmented by text-to-tone creation. The sounds here are fantastic, and the AI components really do help streamline the creative process.Hands-on videosJason SaditesSignal TheoryBen Hartwell

“This could well be the amp simulator to rule them all”: Line 6 Helix Stadium Native review

Editor&#8217;s note: BandLab Technologies and MusicTech are both part of Caldecott Music Group Ivan Chen is the new CEO of BandLab Technologies, as previous CEO Meng Ru Kuok moves into an executive chairman role. Kuok co-founded BandLab Technologies in 2015, with Chen joining the team in 2016 as chief operating officer; Chen became president in 2024. Chen will officially become the company&#8217;s CEO on 1 October 2026. The reappointment is in preparation for the “next stage of global growth”, says BandLab Technologies in a press release. Chen will oversee day-to-day operations of BandLab Technologies, with Kuok continuing to work closely with Chen on long-term strategy, partnerships, opportunities and investments. He will remain CEO of BandLab Technologies&#8217; parent group, Caldecott Music Group — Chen will continue his role as group president of CMG. BandLab Technologies is named after its flagship app, BandLab, and is also the parent company of Cakewalk, ReverbNation, Airbit, and, as of July 2026, AI-powered digital music studio Aiode. Kuok says in the press release: “Ivan has been closely involved with BandLab Technologies from its early years and has been a key contributor and partner in realising our vision of making music creation more accessible for creators and artists around the world. A decade on, this ambition has only grown and we are in the most dynamic and fast-moving period we have ever seen across music, technology, media and fandom. I’m pleased to announce this change which gives us the capacity to take the company to new levels of success,” said Kuok. “In his tenure as COO and President, Ivan has turned many of our biggest ideas into reality, and I believe he has the judgment, experience, and understanding needed as we continue to drive forward as a company. He knows where we&#8217;ve come from, but more importantly, he has a clear view of where we want to go next. I have every confidence in him to lead the company forward as CEO and I look forward to continuing to work alongside him.” “I’m grateful for the trust Meng and the Board have placed in me, and I’m excited to lead BandLab Technologies forward,” said Chen. “We have built products that creators value and a business with enormous potential ahead of it. Creators around the world make music on BandLab every day, and my focus is on ensuring we continue to define the future of music creation for many years to come.” Read more music industry news. The post BandLab Technologies appoints new CEO, Ivan Chen appeared first on MusicTech.

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