SoundX : Workshops

FOUR : WEEKERS — June Batch Starts June 7th

Most people never act on the urge to make music. FOUR : WEEKERS fixes that. Four consecutive Sundays, five participants, one skill explored at depth — Music Production, Mixing, or DJing — or stack more than one. Work with a team who've performed across the globe, worked on Grammy-nominated and multi-platinum records, and hold residencies in some of Dubai's most coveted venues. Two hours each Sunday. Eight hours total. AED 2,000. The June batch runs the 7th, 14th, 21st and 28th. Register now →

SoundX : Code

SoundX : Control Ships in July

Control turns your existing camera into a gesture-based controller — your hands driving the music in real time, no extra hardware. VST3 and AU compatible across all major DAWs. The waitlist is now open: first access and founding pricing, before anyone else. Join the waitlist →

SoundX : Code × SoundX : Live

BRAINSTORM

A sonic art display in a gallery at Alserkal Avenue, Dubai's art district — built around EEG-driven visuals and a biometric set, the visuals generated by what was happening in the performer's head, in real time, alongside audio reactivity. It was a first look at our unreleased tools and a live demonstration of Control. More below — videos coming soon.

SoundX : Live

After Hours — Vol 001

A jam with a different genre each edition. Vol 001 is MCs with the band, at Q's Lounge — the jazz club Quincy Jones built, inside Palazzo Versace Dubai. June 5th, 11:30pm–1am.

SoundX : Workshops × Rolling Stone MENA

The Accelerator

We're putting together a short film on what the people who came through our Accelerator are doing now — the deals, the roles, the records. Careers, momentum, and what's next. Keep an eye out for it.

Segment One

Artist You Should Be Following

Catch Them Live

Jazzablanca  ·  Casablanca, Morocco  ·  July 6, 2026

Their 2026 tour is largely a UK run, with one MENA date: a set at Jazzablanca in Casablanca on July 6th. The live show is where everything we just said about them actually proves itself.

Segment Two

Things Worth Your Time

— 01 of 02

The Mouse Was Always a Compromise

Music Technology

We've spent thirty years making music by pointing a tiny arrow at tiny boxes. The mouse was never designed for music — it was designed for spreadsheets, and we inherited it. The most interesting question in music tech right now isn't which plugin sounds best. It's why the body — the most expressive instrument any of us owns — got reduced to one finger on a click. The tools are finally catching up to the question. We've spent a lot of this year on the answer.

— 02 of 02

The Concert Is Becoming a Conversation Between Your Senses

Live Performance

For most of history, a concert was something you heard. Lights came later, screens later still. What's emerging now is different: shows where what you see is generated by what's actually happening — in the music, in the room, in the performer's body. BRAINSTORM was our experiment in exactly that — visuals driven by live brain activity, the audience watching a mind think in colour. The line between hearing a show and experiencing one is dissolving. We think that's the most interesting place in live music right now.

Segment Three

From The Studio

Templates  ·  01 of 03

A template doesn't replace skill. It protects it.

Every setup decision you make once and automate is attention you get to spend on the music instead of the plumbing. The producers who move fastest aren't choosing between getting better and getting faster — they're doing both. Skill and a maintained template don't compete. They compound.

Live  ·  02 of 03

Work backwards from the feeling.

Before you choose a single piece of gear, decide what you want the room to feel when they walk out. Most of the rig is invisible to everyone but you — the audience never sees the signal chain, they only feel the result. So design the result first, then choose the tools that get you there. Not the other way around.

Spend  ·  03 of 03

ROI first.

It's tempting to fund every avenue the moment it's available. Take spatial audio. Apple Music does pay up to 10% more for music available in Dolby Atmos — tied to availability, not to whether anyone actually plays the Atmos version — but someone still has to mix it in Atmos properly, and that's a real cost. So the question for an independent artist is simple: does the extra 10% on your Apple Music streams, plus what your Atmos streams pull in elsewhere, cover the additional cost of the Atmos mix — and is there any real added benefit for you? Fund the things that pay for themselves first.