US OCC terminates 2022 order targeting Anchorage Digital over AMLThe financial regulator said the bank’s “compliance with laws and regulations does not require the continued existence of the order,” first issued in April 2022.

What is funk? How two James Brown classics define the genre
Learn about the key characteristics, instrumentation, music theory, and more of funk music, as defined by two James Brown classics.

Using the 74HC595 Shift Register to Drive 7-Segment DisplaysIn a recent video our hacker [Electronic Wizard] introduces the 74HC595 shift register and explains how to use it to drive 7-segment displays.
[Electronic Wizard] explains that understanding how to apply the 74HC595 can increase the quality of your projects and also help keep the demands on the number of pins from your microcontroller to manageable levels. If you’re interested in the gory details you can find a PDF datasheet for the 74HC595 such as this one from Texas Instruments.
[Electronic Wizard] explains further that a shift register is like a small one byte memory where its data is directly available on its eight output pins, no input address required. When you pulse the clock pin (CLK) each bit in the eight bit memory shifts right one bit, making room for a new bit on the left. The bits that fall off the right hand side can daisy chain into another 74HC595 going out on pin 9 and coming in on pin 14.

[Electronic Wizard] goes on to extol the virtues of pin 13, the active-low Output Enable, which can be used to make sure junk doesn’t appear on your 7-segment displays during initialization. Also the 74HC595 can provide current itself which lessens the power demands on your micro.
[Electronic Wizard] covers how to use multiplexing to drive multiple 7-segment displays but notes the drawbacks of this method including large pin counts and high frequency flashing which, while invisible to the human eye, can become visible on some cameras and recording equipment making the 74HC595 a superior solution to multiplexing.
The bottom line is that using only three pins from the microcontroller you can drive one or more 7-segment displays. To learn more, including how to use the other pins and features of the 74HC595, be sure to click through to watch the video. If you’re interested in the 74HC595 you might like to read about how the Bus Pirate 5 used two of them to get an extra 16 pins on the board.

Bandsintown inks YouTube deal to become platform’s exclusive provider of concert listingsIntegration will soon expand to YouTube's homepage – and to YouTube Music later this year
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Witch Pig StarscraperMicro Pitchshifter / Reverse Delay Click along the bottom row to slide the controls in and out of view. A slight pitch detune on one side and an uptune on the other, will add depth and character to the sound. More extreme settings will result in a chaotic dissonance. Adjust the Delay, Feedback and Mix controls, to set how much Reverse Delay is mixed into the signal. Longer delays and higher feedback settings will work best with single sustained notes. For chords and faster played sections, try using 1/8 or 1/4 Delays, with a lower Mix level. https://www.youtube.com/watch?v=TQ4cuCsDA9s https://www.youtube.com/watch?v=kBYgTRNIyBw Read More

The unflattening of streaming (and the case for friction)This post builds on our January 2025 post ‘The unflattening of music’ which itself built on two previous pieces (you can find links to both in that post).

Industries arrive at pivot points when an accumulation of fissures coalesce into one big crack. Streaming is approaching such a point. We are still at the lots-of-small-cracks-appearing stage, but there is a clear sense of something building. With streaming revenues now representing close to three quarters of the recorded music market (excluding expanded rights), there is clearly an overriding incentive to fix the problem. Simply throwing in the towel and waiting for whatever comes next would hurt both creators and rightsholders. The challenges come from all directions and with different causes (major rightsholders feeling investor pressure; artists struggling to cut through the clutter; royalties not adding up for too many professional artists; music becoming commodified). But the problem is that the people underpinning the entire edifice – consumers – do not have a problem. And that is what needs most attention. 

When Spotify first arrived in the market 16 years ago, it was little more than a vast catalogue of music with a search box. If you didn’t know much about music, you weren’t going to get much out of it. Thus, the first wave of adopters were music aficionados, hastening the demise of downloads, where many were currently spending their money. Fast forward to today, Spotify – and other streaming services – are a dramatically different value proposition, catering not just to those aficionados (or superfans), but also for the passive massive that upgraded from radio and the occasional purchase. Converting so many passives into subscribers was one of streaming’s most important achievements. However, because there are so many more of them than aficionados (six times more in fact), it is only natural that streaming’s UX has prioritised their needs. This, in turn, has helped hasten the commodification of music. 

The great economic paradox of streaming is that it does not differentiate between aficionados and passives, charging them the same fee for the same product. Little wonder then, that aficionados have shifted their extra spend to live and merch. If the supremium tier does eventually make it to market, it will go some way to addressing this. But it will not be enough on its own – and may well come across as an unusual and out of place appendage to the standard streaming proposition. What’s more, there are signs that Gen Z are not warming to streaming like they should be, with 16-19 penetration growing FAR more slowly than other age groups. What links these two challenges is the fundamentally flat nature of Western streaming UX. That needs to change.

So much of streaming’s success was built on the digital era’s superpower: convenience. Yet it is that very thing that has driven cultural commodification. While convenience may have disrupted the economics of things like taxis, online shopping and food delivery, it has undoubtedly improved the experience. Rides have got better; home delivery has got better. With music however, convenience has improved the experience for some (passives) but lessened it for others (aficionados). Fandom did not catch the streaming bus. To address this, streaming UX needs to change.

The case for friction

As counter intuitive as it may sound, streaming has become too convenient. It needs some friction. Friction is not inherently a bad thing. Done right, it can lead to a sense of satisfaction and personal reward. Think about where friction-with-reward exists in our life: learning a new skill, fitness training, reading a long book. The games industry even turned friction into a product.

Music discovery used to be a high-friction experience. Fans would trawl through (often pompous) music reviews, tune into their favourite DJ’s radio show on a late weeknight, and / or wade through endless shelves of albums in stores, perhaps being fortunate to get a surreptitious recommendation from the person behind the till. Many would say it is entirely a good thing that those are the features of a bygone era (though obviously not music journalists and record shop owners). But as is so often the case, it is the generation that comes after the first wave of adopters that can see what is missing from the new era. This is why, with streaming personalisation better than it has ever been, waves of Gen Z are busy crate digging in record shops. The sense of personal reward they get from finding a gem is simply not paralleled by streaming.

Streaming UX needs to learn how to introduce friction, but crucially only for those who want it, when they want it. The majority of people – even aficionados – want a friction-free experience most of the time. The opportunity is to create invitations to do more. The music industry bemoans the shift from lean in to lean back. Now is the time for dive in.

Crucially, this needs tying to identity, because that is central to the reward. For example, when someone spends time doing whatever the streaming equivalent of crate digging might be, they get a ‘hidden gem’ badge which goes on their profile page (it is perplexing that we still don’t have public user profile pages on streaming). Much as I am loathe to use the G word, gamification will be part of the equation. Music is meant to be entertainment. Listening to a work out playlist in the gym or a lo-fi study playlist is not entertainment, that is distraction. 

Bringing back friction will not solve all of streaming’s problems. No single thing will, but it will finally start to push back against the overwhelming trend of flattening. A whole slate of interconnected solutions will be needed for streaming’s other problems. The good news is that MIDiA is currently working on a major new report that will propose just that. The humbly titled ‘Future of streaming’ report will be arriving in the coming months. Watch this space!

Ted Fletcher 1938–2025 Ted Fletcher, the pioneering engineer and designer behind iconic audio brands such as Alice, Joemeek, tfpro and Orbitsound, has sadly passed away.

“It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum BerlinElectronic music pioneer Paul van Dyk has put his Roland TR-808 drum machine on display at the Synthesizer Museum Berlin, where it will remain for the next year.
One of his most prized pieces of gear, and one that is synonymous with electronic music culture, van Dyk used the 808 on multiple tracks, including his well-loved debut track, For An Angel, which was first released in 1994 and later remixed in 1998.

READ MORE: Loopcloud’s Flip Sample instantly transforms loops and one-shots into new variations – and it’s a free update for existing users

The exhibit not only celebrates van Dyk’s long-standing influence on electronic music, but also pays tribute to the instrument that helped shape the genre through its use in countless legendary records. The exhibit announcement lands just after Roland’s 808 day, celebrated every 8 August in honour of its mighty legacy.
Paul van Dyk comments: “This Roland 808 has been with me since the early days; it’s more than just a machine, it’s a part of my musical journey. From For An Angel to countless other tracks, its beat helped shape my sound. I’m proud to lend it to Synthesizer Museum Berlin, where it can inspire the next generation of producers just like it inspired me.”

In honour of the recent 808 day, Roland has launched some generous deals on its plugins – with the spotlight on its TR-808 software, available now till 31 August as a perpetual license for just $49, or a third of its usual price of $149. All Roland plugins remain on sale over at Plugin Boutique.
Paul van Dyk’s Roland TR-808 will remain on display for one whole year – find out more about the Synthesizer Museum Berlin. 
The post “It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum Berlin appeared first on MusicTech.

Safari Pedals Gorilla Drive is FREE at BPB this week
Safari Pedals offers the Gorilla Drive ($49) warm analog-style saturation plugin for free via Bedroom Producers Blog until August 24th. Gorilla Drive is typically priced at $49, but BPB readers can claim a free license this week. To get your free copy, register with your email address via the link at the end of this [...]
View post: Safari Pedals Gorilla Drive is FREE at BPB this week

“Designed by pro DJs, for pro DJs”: TEILE’s new K1 Headphones isolate the beat in loud clubs, and are just €199TEILE Elektronik, the German music gear brand co-founded by techno artist Rampa, has released its first pair of professional headphones for pro DJs.
The K1 headphones arrive after two years of testing and fine tuning, and despite their professional label, they cost just €199. Rampa (real name is Gregor Sütterlin), who also founded the record label Keinemusik, runs the brand alongside innovator Benjamin Hughes.

READ MORE: Wunderkammer’s new WoO.1 is retro-styled sampler and looper that packs big ideas into its small frame

Design-wise, these headphones have a sleek, simple aesthetic and are all-black aside from the TEILE logo featured on the side of the headband. Strong clamping force allows for heavy isolation in loud environments, and they are powered by “highly efficient” 40mm Neodymium drivers.
They’re foldable for easy transport, and come with a reversible cable for easy connection to both 1/4” and 1/8” jacks. They also offer a USB-C port to connect to phones and computers, and have a built-in microphone for calls. The ear pads are easy to replace if they get worn down over time.

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A post shared by Rampa • Keinemusik • TEILE (@rampa_keinemusik)

“We have spent the last two years live testing and fine tuning the K1 headphones with the goal to create the perfect pro DJ headphones. Focusing on the needs of touring DJs, we built loud, clear and punchy drivers into large ear shells, and added a strong clamping force to isolate the beat in loud clubs,” states TEILE.
“They are light weight and easy to fold to a compact travel size. No adapters needed due to an easy two way cable engineering. Also we added a microphone and USB-C port for easy connection to your phone or laptop for previewing music or having a phone call. All in all a very slick and reduced clean shape design.”
To shop now or find out more, head over to the TEILE Elektronik website.
The post “Designed by pro DJs, for pro DJs”: TEILE’s new K1 Headphones isolate the beat in loud clubs, and are just €199 appeared first on MusicTech.

Cherry Audio introduce Crumar Spirit Crumar Spirit promises to accurately capture the rare instrument of the same name, as well as enhancing it with polyphony, additional modulation capabilities and built-in effects. 

Is Neural DSP Mantra just another channel strip plugin? Not exactly€199 including taxes, neuraldsp.com
If you’re a guitar player, you should be familiar with Neural DSP. Founded in 2017, the Finnish manufacturer specialises in amp modelling, with some of the best solutions on the market. Neural DSP already has a range of guitar and bass plugins, but Mantra, a vocal-focused effect — is an interesting move for the company. Let’s find out if it’ll pay off.

READ MORE: Sonible smart:reverb 2 has shown me the future of reverb mixing

With a similar look and interface to the other Neural DSP plugins, Mantra provides a comprehensive low-latency effects processing solution for vocal performers, songwriters, and producers. Mantra is a real-time instrument you can use live and while tracking, or a powerful vocal production platform for achieving a more polished sound.
With a vocal chain that includes dynamics and tonal processing, tuning, harmoniser, and multi-effects, the processing is divided into three sections: Correction, Harmonies, and Post FX. This lets you move quickly between the various effects modules, while the global I/O gain controls, metering, and limiter provide quick access to adjust your gain structure.
As you might expect, there are two input monitoring modes: a low-latency mode for tracking, and a high-quality mode for mixing, which also unlocks dynamic EQ processing within the Sculpt module. You also have a global tuning section where you can set the root note and scale to access the Chord Voicing library, and even tune the Reference Pitch to 432 Hz if you like.

How do you use Neural DSP Mantra?
There’s a lot to take in when you first see the range of processing modules inside Mantra, but using the plugin is actually remarkably easy.
Upon opening the plugin, you are immediately prompted by the Sculpt module’s analysis feature. This will automatically optimise the EQ curve according to the signal profile from your voice and microphone, with a selection of nine different target curves that provide the foundation for the tone creation process.
From the Correction tab, you can access seven modules that cover almost every angle of corrective vocal processing, including tuning, noise gate, sculpt, de-esser, EQ, compressor, and saturation. At first, the modules look like one-knob interfaces, but as you select each one, they expand, providing the full extent of the available controls. This neat interface design allows easy access to the most important parameter for each module, but then you can dive deeper when you need to, with a central visual interface for key features.
The preset browser interface is a letdown, with a dropdown menu system that is especially clunky on smaller displays. However, the presets themselves are well designed by some of the industry’s top musicians, producers, engineers, and sound designers. A quick flick-through showcases Mantra’s capabilities, with outstanding content from the likes of Mick Gordon, known for his work on the Doom video game franchise, plus cleverly designed presets for both condenser and dynamic mics from producer Forrester Savell.
When exploring presets, I’m impressed to find settings that allow the three main levels of vocal dynamics to translate in interesting ways. The epiphany happens when I load up Mick Gordon’s Loud Rocker preset, and move from a close-mic, soft dynamic to a medium-distance (around six inches) verse dynamic, and finally to an even further distance (12 inches plus) at a louder level that excites the room. In each case, saturation, compression, and gating shape the vocal in different ways, exposing a contrasting range of nuances.
In this way, Mantra goes well beyond the scope of being a corrective processor and becomes a powerful creative tool for songwriting. It helps you come up with ideas and sounds that keep you fully immersed in the music production process.
Correction. Image: Press
Going deeper with Neural DSP Mantra
Equipped with an old AKG C414 condenser mic and an EVO 4 interface, I found the results pretty astonishing and immediately viable in the context of commercial music production.
In tracking mode, the latency is low enough to rehearse and record takes, which I then quickly duplicate, running additional instances of Mantra (now in mix mode) to create vocal stacks in seconds. Although I don’t go full T-Pain on the tuning, I find it responsive and natural-sounding enough for use in pre- and post-production.
In mixing mode, the Sculpt module’s dynamic EQ feature certainly makes your vocals sound less ‘bedroom’, but it won’t replace heavy hitters like Pro-Q, Soothe2, and Gullfoss. Meanwhile, the Harmonies tab is particularly intriguing, with four layers of harmonies that can be spread over the stereo field in linked stereo or dual-mono configurations per layer. To create harmonies, you just set the global root key and scale, which then allows you to access the Voicing Library with preset chords, or adjust the interval of each individual harmony.
Alternatively, you can trigger harmonies with MIDI notes, which opens up the possibility to use Mantra as a compositional and performance tool. While the formant shifter can only be used in Mixing mode, the scope of settings to achieve natural-sounding variation is impressive. With the high-cut and low-cut filters, you can set the frequency range of the harmonies, and there are controls to add randomisation to the pitch and timing. What’s more, you can adjust the balance with global controls for the width, as well as the levels of the harmonies and the original signal.
The Post FX section comprises three parts, with four delay types, three reverb types, and three modulation effects with an additional Doubler module. There isn’t an expansive set of controls for each effects module but there are mix controls for both the main vocals and harmonies on each of the three modules, plus ducking on the reverb and delay. This provides enough effects to create subtle textures or pulsating soundscapes without losing the intelligibility or edge of your original vocal.
Sculpt. Image: Press
Mantra truly resonates
If you’re a professional mix engineer, you probably already own a slew of specialised vocal post-production plugins and Antares Harmony Engine, which offers deeper harmonisation features. However, Mantra’s true prowess lies in its creative versatility for musicians, songwriters, and producers looking for a go-to vocal tool when inspiration strikes.
In regard to the competition, at €199, Mantra offers a far deeper feature set than Pulsar Audio’s Vocal Studio ($199) or even Universal Audio’s Topline Vocal Suite ($349). Although it’s entering big league prices for a plugin, Mantra is a tool that significantly enhances the creative process for vocal artists and songwriters, and it can also be used on synths, drums, and even a mix bus.
Mantra is a few leagues ahead in the steeplechase for this particular market niche, and Neural DSP could easily take this technology a step further by developing a dedicated pedal for live vocalists using the same platform as its impressive Cortex series.
Post-FX. Image: Press
Key features

Vocal processing plugin
AU / VST / AAX / CLAP plugin for Windows (10 or above) and macOS (13 or higher)
Tracking and Mixing modes
Automatic EQ sculpting module
Impressive range of processing controls
4-layer harmoniser
Artist presets
14-day trial available

The post Is Neural DSP Mantra just another channel strip plugin? Not exactly appeared first on MusicTech.

Space is open for business with Even Rogers and Max Haot at TechCrunch Disrupt 2025The next era of the space economy isn’t just about rockets and satellites — it’s about infrastructure, autonomy, and entirely new models for building and defending off-Earth assets. At TechCrunch Disrupt 2025 this October 27–29 in San Francisco's Moscone West, the Space Stage is where this shift gets real.

Position Music Signs Rising DJ Trio Levity to Global Publishing DealPosition Music has officially added another rising star to its roster. The Los Angeles-based independent music company announced the signing of Chicago-based electronic trio Levity to a worldwide publishing deal.The group—comprised of John Hauldren, PJ Carberry, and Joshua Tarum—has seen a rapid rise since their debut in 2023, amassing nearly 100 million streams across streaming platforms and establishing themselves as one of the most promising new acts in electronic music.A statement from the company discloses that, “Levity’s growth over the past two years has been extraordinary—what began with a last-minute set at Electric Forest in 2023 has evolved into sold-out headline shows and key slots at major festivals like EDC, Lollapalooza and more. I’m so excited to be working with them and their managers Adam and Harrison at 2+2 Management. Levity has had an explosive start and we’re only scratching the surface of what they’re going to achieve.” This comes from Mike Torres, A&R at Position Music.Levity expressed equal enthusiasm about the partnership. A statement from the band shares that, “We are so excited to be working alongside the wonderful team at Position Music! The opportunity has given us the chance to share our music with a wider range of people and take our music to the next level. We can’t wait to see where else our partnership will take us!”The signing comes on the heels of a busy summer for the trio, including a performance at Lollapalooza. Known for sets that go beyond DJing, Levity emphasizes crowd interaction and blends a wide range of electronic sub-genres into their live shows. Their 2025 schedule is already filling up with major festival appearances, including Do LA (Coachella Weekend 1), EDC Las Vegas, Beyond Wonderland, and Lollapalooza.Levity recently released their new single, “Like This,” from their forthcoming EP Snack Pack via Ultra Records. The group is currently on tour, with dates scheduled across the U.S.:9/4 – Showbox SoDo (Seattle, WA)

9/5 – Showbox SoDo (Seattle, WA)

10/10–10/12 – Seven Stars Festival (Arrington, VA)

10/31 – Stage AE (Pittsburgh, PA)

11/8 – Cow Palace (Daly City, CA)

11/14 – Shrine Expo Hall (Los Angeles, CA)

11/15 – Shrine Expo Hall (Los Angeles, CA)

11/21 – Mission Ballroom (Denver, CO)

11/22 – Mission Ballroom (Denver, CO)

11/28 – Brooklyn Paramount (Brooklyn, NY)

11/29 – Brooklyn Paramount (Brooklyn, NY)

12/30 – The Fairgrounds (Nashville, TN)The post Position Music Signs Rising DJ Trio Levity to Global Publishing Deal first appeared on Music Connection Magazine.

Confirmed: BMI royalty rate from terrestrial US radio is rising by nearly 24%Radio stations will go from paying 1.78% of gross revenue for BMI's music in 2021 to 2.20% in 2026
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