Reason Studios introduces Osmium Distortion Matrix, a new device for the Reason RackFancy levelling up your Reason Rack? Well, Reason Studios’ latest distortion plugin might be the perfect thing for you. Pairing the range of multiband distortion with a modular core, the Osmium Distortion Matrix is a slick, malleable and exciting tool to spice up your studio time.
The Osmium Distortion Matrix offers nine freely routable effects slots to allow you a full, flexible range to carve out your sound and build chains. The plugin also comes with four distinct distortion modules, allowing you to toy with Saturation, Overdrive, Wavefolder and Bitcrush, with the addition of effects like dynamics, filters and EQ capabilities.

READ MORE: Hybrid music production in 2025: The good, the hard, and the recall

In terms of the plugin’s multiband distortion, there are three frequency bands to split your sound into and experiment with. The modulation matrix also features two LFOs, as well as a curve sequencer, envelope follower and precise CV control.
Credit: Reason Studios
Of course, the entire plugin has also been designed to slot perfectly into Reason Studio’s Rack. External effect loops also allow you to patch in any device across Reason Studio’s diverse library of over 200 plugins and tools, meaning you can slot anything right into Osmium’s signal chain. It’s essentially a plugin that feels like it could have always been part of the furniture, enhancing your Rack experience and then some.
As Reason puts it, the plugin is a “new device built on old principles”, offering a “precise, playful” creative experience, ripe for experimentation.
For those of you with a Reason+ subscription, you’re in luck; the brand new Osmium Distortion Matrix will now be included in a Reason+ subscription. If you’ve not got Reason+, Reason license owners will be able to get the plugin for an introductory price of $49.
For more information, head to Reason Studios.

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Playfair Audio releases Body, a FREE innovative dynamic processor plugin
Body by Playfair Audio is a free dynamics plugin for Windows and macOS that presents a different approach to compression and expansion. It offers the core functionality of its big brother plugin, Dynamic Grading (£140), with the same DSP engine and Source Learn technology. To claim the free plugin, just sign up for the Playfair [...]
View post: Playfair Audio releases Body, a FREE innovative dynamic processor plugin

Bandsintown expands mission to empower Artists with MarketplaceLive music discovery leader Bandsintown continues to expand on its mission to empower artists at all stages of their careers with the launch of the Bandsintown For Artists Marketplace. This first-of-its-kind ecosystem offers independent musicians tools to connect with fans and - unlike most "For Artists" platforms - control their relationship with them.
The post Bandsintown expands mission to empower Artists with Marketplace appeared first on Hypebot.

DistroKid adds ‘Direct’ Merch SalesIndie D.I.Y. music distributor DistroKid has launched Direct - a new platform that brings direct-to-fan commerce to smaller independent artists. Designed to go beyond traditional distribution, Direct enables artists to create and run on-demand merch stores from within the DistroKid ecosystem.
The post DistroKid adds ‘Direct’ Merch Sales appeared first on Hypebot.

Excite Audio partners with Mura Masa on new Bloom virtual instrument – packed with “everything you need to make a fully fledged song”Excite Audio has partnered with Grammy-winning producer Mura Masa on the latest addition to its Bloom series of virtual instruments.
The all-new Bloom Mura Masa – which joins 11 existing Bloom plugins spanning vocal choirs, drums, synths and more – captures the essence of Mura Masa’s sound, allowing producers to harness his thumping bass lines and euphoric, rave-ready synth sounds. The instrument even features a whole slew of presets designed by Mura Masa himself, with a total of 250 to utilise and expand upon.

READ MORE: Welcome to Earth, Whimsical Raps Atrium: This five-voice, gesture-controlled analogue synth looks like it landed from another planet

While Mura Masa’s sound is etched into the core of Bloom Mura Masa, the key point of reference is the producer’s 2024 record, Curve 1. The record pushed Mura Masa’s sound to the next level, fleshing out new worlds of UK garage and intense hardcore dance anthems – and now you can capture those same sensations.

Like Excite Audio’s existing Bloom plugins, Bloom Mura Masa features an easy-to-grasp, minimalist user interface, and packs in sounds including “gritty bass hits, warped percussion, intimate textures, euphoric synth stabs” and more, all hand-picked directly from Mura Masa’s personal session archives. You can also combine one-shots and loops into phrases that are perfectly in sync with your project. There are also three versatile effects plus four macro controls, Terminal, Peek, Angle and Sides.
In addition, alongside the 250 presets included, producers can import their own samples to further personalise the instrument.
Each texture, guitar or effect from the library can also be tweaked, with options to experiment with stereo width, phased reverb, gritty distortion and expressive delay.
“This plugin is packed full of sounds taken directly from my sessions and heavily inspired by my club night ‘Curve Club’, which we took all over Europe and the US,” says Mura Masa.
“Excite Audio and I have done a lot of the work for you. It’s packed full of presets that I’ve made myself – sequences, drum loops, melodies, chords, bass lines – everything you would need to make a fully fledged song.”
Bloom Mura Masa is out now, at an introductory price of  £39/$39. After 30 November, this will rise to £59/$59. Learn more at Excite Audio.

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Excite Audio Bloom Mura MasaCurve Your Sound Step inside the underground of modern club culture with Bloom Mura Masa, a raw, inventive instrument made in collaboration with the boundary-pushing producer Mura Masa. Built from the same sonic DNA as his 2024 album 'Curve 1', this instrument captures the immediacy of a surging dance floor and the emotional resonance that lasts long after the night ends. You'll find gritty bass hits, warped percussion, intimate textures, playful synth stabs, and rhythmically unpredictable loops - all hand-picked from Mura Masa's personal session archives, containing both released and exclusive never-before-heard material. Each selection carries his unmistakable signature of UK garage swing, rave-era euphoria, and hardcore energy, honed into a tool that's both club-ready and emotionally deep. With Mura Masa's creativity guiding every sample and phrase, this is a tool for crafting forward-thinking, DIY-spirited tracks that are designed for the dark. He says: Excite Audio and I have done a lot of the work for you. It's packed full of presets that I've made myself — sequences, drum loops, melodies, chords, basslines — everything you would need to make a fully fledged song. What Bloom Mura Masa Can Do: Provide hard-hitting, club-ready drum kits, basses, synths and instruments for your music. Combines one-shots and loops into phrases that are perfectly in-sync with your project. Shape your sound with three versatile effects and four powerful macros designed by Mura Masa (Terminal, Peek, Angle & Sides). Get instant inspiration with 250 presets, expertly designed by Mura Masa and Excite Audio's team of professional sound designers. (New!) Allow you to import your own samples and personalise the instrument. Sound Sources "This plugin is packed full of sounds taken directly from my sessions and heavily inspired by my club night 'Curve Club', which we took all over Europe and the US." - Mura Masa. Mura Masa carefully selected every sound in Bloom Mura Masa, pulling directly from his own session archives and creative experiments. He sculpted these recordings with the same forward-thinking approach that defines his club-driven productions, blending raw, DIY textures with cutting-edge processing. Inside Bloom Mura Masa, you'll find a wide range of sound worlds to explore: from distorted basses and jagged drum kits to euphoric synth stabs, unpredictable percussion loops, guitars, and intimate textures. How it Works Stay in the creative flow on the Main Page - trigger individual sounds with white notes and launch phrases or tweak properties with black notes. Four powerful macros (Terminal, Peek, Angle & Sides) let you shape your sound, while a range of 250 presets get you moving fast. The Main Page There are eight banks of sounds to choose from, organised into easy-to-find categories. Swap sounds by loading a new bank or dragging individual samples onto the 14 white notes for instant variation. The Edit Page: Sculpt Your Sound For those who want to go deeper, programming entire sequences, chopping up hits and loops and using custom samples, it's all unearthed in the Edit page. Bloom Mura Masa's Edit Page houses parameters like playback type and direction, attack and release, pitch and panning and everything else you'd expect in a modern sampler. Mura Masa says: You can chop a section of any loop, pitch it, add different effects, combine it with other sounds, and very quickly the results start to become huge. Import Your Own Samples Adding your own samples to use as sources in Bloom Mura Masa is perfect for those who want to put their personal stamp on the Bloom engine. Drag and drop an audio file onto the sample display in the Main Page to replace the existing sample. Swap in your samples in complex patches to transform them while keeping Mura Masa's production as your foundation. Sequencing Reimagined Unlike traditional sequencers, the Bloom Sequencer is designed for triggering and layering one-shots and looping sequences, allowing for endless rhythmic creation. In the modulation section, automate pitch, volume, and filter settings as well as three effects to add depth and dimension to your music. In addition to high-pass and low-pass filtering, three effects await you in the Edit page: Reverb to create space and depth using Hall, Plate and Spring algorithms from the Lifeline Series. Speaker simulates different reamping techniques and loud speakers, from handheld devices to guitar amps to studio monitors. Modulation provides Chorus, Flanger and Vibrato effects for adding movement, width, and evolving character to your sounds. Features: 14 Sample Keys. 5 Factory Modifiers: Half-time, Double-Time, Reverse, Octave Down, Octave Up. 5 Custom Modifiers (A, B, C, D, E) for Triggering Sequences. 8 Sample Banks / 112 Percussion Samples. Samples Synced to Host BPM. Key Selection. Sample Randomise. 4 Macros: Terminal, Peek, Angle, Side. 5 Main FX Parameters: Speaker, Reverb, Mod, Lo-Cut, Hi-Cut. Global Bypass. 250 Presets (Including over 100 presets made by Mura Masa himself marked 'MM'). All samples that come with Bloom Mura Masa are royalty-free. Import up to 112 of your own samples (these can be swapped at any time). Edit Page - Sample Edit: Waveform Display. Playback Direction: Forwards, Backwards, Pendulum, Loop. Playback Modes: Hold, Latch, Relative. Playback Speed: Normal, Double, Half. 4 Choke Groups. Start / End Markers with Snap to Grid, Snap to Transient. Sample Crossfade, Attack, Release, Pan, Volume. Sample Pitch, Fine, Formant, Pitch Warp. Edit Page - Sequencer: Sample Mode for triggering sequences. FX Modulation: Reverb, Speaker, Modulation, Lo-Cut, Hi-Cut, Pitch, Volume. Playback Direction: Forwards, Backwards, Pendulum, Loop. Sample / Modulation Randomise. Global / Track Step Rate, Sync, Swing, Steps, Latch, Beat Retrigger controls. Track Trigger, Velocity, Probability, Attack, Release, Timing and Perform. Edit Page - FX: 3 Rearrangable Effects: Reverb, Mod, Speaker. Speaker Mode: Device, Cabinet, Hi-Fi, No Speaker. Speaker Parameters: Size, Mix, Distance, Age, Bass Thru, Tone, Input, Output. Reverb Modes: Plate, Hall, Spring. Reverb Parameters: Length, Size, Mix, Pre-Delay, Duck, Lo-Cut, Hi-Cut, Input, Output. Modulation Mode: Chorus, Vibrato, Flanger. Modulation Depth, Rate, Sync Rate, Mix, Shape, Feedback, Input, Output. Modulation Shape: Sine, Triangle, Inverted Triangle, Random. Global Lo-Cut, Hi-Cut, Tone, Dry, Wet. Read More

7 lessons on music-making from a breakfast with BabyfaceThe room was silent during the Breakfast with Babyface session at Warner Chappell Music’s songwriting camp in Las Vegas. When a producer and songwriter with that much prowess talks, you listen closely.
The Grammy-winning musician, real name Kenneth Brian Edmonds, has been in the game since 1977, pioneering the sound of modern R&B as a solo artist and collaborator. He’s created hits for everyone from Madonna, Bobby Brown and Whitney Houston to Ariana Grande, SZA and  , and co-founded the influential LaFace Records.
At the WCM songwriting camp, held in September, Babyface sat down to share the lessons he’s learned over his five-decade career. Whether you’re making music at the highest level or making beats in your bedroom, the artist’s hard-won wisdom will apply to you.
Here are the crucial takeaways from the Breakfast with Babyface interview.
Leave your ego at the door
“Quincy Jones said it a long time ago: Leave your ego at the door. If you do that in any writing session, then you have a much better chance of coming out with something,” says Babyface when asked how to make the most of a collab session.
“Some people walk in with their ego; they think they know exactly how it should be, and they try to control the room. And so nothing comes from it. When I walk into a room, I walk in as an equal. The best idea could come from me, or it could come from someone else. Or I might be able to help them with that idea and take it further. It’s really important to go into [the studio] without an ego and go in there with the idea of collaborating — not just dictating, but actually collaborating.”
Know when to collaborate — and when not to
It’s easy to get excited about working with an artist you admire. But, as Babyface says, sometimes it’s worth taking a step back and asking yourself, ‘Is this really the right partnership?’
When evaluating collaborators, Babyface says he’s “always trying to think of whether I can bring something to the table. I want to walk into the room because I can actually contribute and move it along.”
“Me and Prince talked a couple of times about possibly working together. I was like, ‘What can I do for you?’ [laughs] It was exciting — the idea of walking into a room with Prince — but I want to walk into it and actually get something good. And there have been times when I’ve tried to insert people, and nothing really came out of it. I’m good with that, but I want to believe, before I walk in there, that something actually can happen, or that [we] have an idea and maybe something can happen.”
Keep an open mind about music you might not like at first
“Never put yourself in a box,” says Babyface. “Music is universal, and you should be able to walk into any room and write with anyone at any time, whether it’s pop, country, R&B or any music, period.”
The artist speaks from experience, having worked with artists across numerous genres and achieved success in various scenes. It’s important, he says, to approach all types of music openly.
“You should be able to walk into the room because you love music, and you listen to everything,” he continues. “If something comes on the radio, then I didn’t particularly like it at first, I’d reevaluate it in my head and say, ‘What am I missing on this?’ I’m not gonna hate on this because ‘our music was better back then’. That’s stupid to go on.”
“You’ve got to keep an open mind and understand it’s good to pick up other people’s taste and put that in your arsenal, so to speak. That allows you to walk into any room and write with anyone. You really gotta figure that out.”
Relationships are important, even when making music
Maintaining a positive rapport with artists in and out of the studio is crucial as a producer, especially for creativity. But, just as important is maintaining good relationships with fellow music-makers to ensure more work comes through the door.
“The really good producers who are having success today have good relationships with artists, and they feel comfortable with them,” Babyface explains, after being asked about the vital business skills required as a modern producer.
“If you can build a vibe and make an artist feel comfortable, then you can stay in the room with them. If you come in saying ‘Well, I’ve written this and I’ve written that, and you should just roll with what I say,’ then…You might still see success. But I think the long-term writer-producers last because they create good relationships with people, and because of that, they’re able to walk into many rooms.”
Try to retain your publishing rights
Publishing might be seen as a last step in the music-making process, or even as an afterthought. But, as you grow your career, you might look back — like Babyface — and wish you’d paid more attention to the publishing side of music earlier on and not jumped into unfavourable deals and signings.
“I didn’t do things necessarily right in the beginning, as with most beginning artists,” the producer says.
“I was just excited to have a song on the radio, and didn’t think that it actually turned into money. And I was lucky over the years that I could turn it around, but if I could go back in time, I certainly would have approached things differently and held on to things.”
“At some point, you need the help financially, and you gotta do whatever deal you gotta do. But if you can hold on to [your publishing], the value of what it becomes…it can grow to something amazing.” Babyface looks to Diane Warren as an inspiration in this arena — the American songwriter has always owned 100 per cent of her publishing.
“Try not to take a quick deal for a quick payday. You gotta put it in your mind that what you’re creating, you own it.”
Let yourself move on from your previous success
Getting a hit track is a goal for countless artists. But, sometimes, once that’s achieved, imposter syndrome might set in, and the artist may doubt if they can repeat the success they had. Squash that doubt, says Babyface.
It’s common nowadays for musicians to sell their catalogue, which likely includes their biggest hits and prized tracks. Babyface has heard from several artists who’ve done this and are left wondering whether their best work is behind them. Squash those doubts, Babyface responds.
“Don’t be so stuck on what you’ve done in the past,” he says. “There’s another life beyond what you’ve already done. So many times I’ve had different writers coming to me after [selling their catalogue], saying, ‘Okay, so what do I do now?’ Go write another hit! Dig in, figure it out. You figured it out once, before you can figure it out again.”
Keep the passion
Remember why you started making music, and why you love doing it. Keeping hold of that passion is imperative in staying creative.
“I wasn’t doing music as a business plan or anything. I was just writing songs,” recalls Babyface of his earlier days. “I just love to write songs. When everybody else was out partying or something, I was inside somewhere with a four-track, writing songs because it was fun. That was my idea of partying.
“You get more work done when you really have a lot of passion, as opposed to just doing it for like, ‘Oh, I want to place this song on so and so, so I can make this money.”’ It should be really about the song first. The song should always come first.”
[Editor’s note: These quotes have been edited for brevity and clarity.]
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Antelope Audio is giving away MG4+, its faithful digital recreation of a classic Series 500 six-band EQAd feature with Antelope Audio.
Antelope Audio has announced that its Native plugins are now available as individual perpetual licenses. Each plugin reflects years of research in analogue modelling and circuit design, capturing the character and depth of studio hardware in a flexible software form that fits seamlessly into any DAW.
To mark the launch, Antelope Audio is offering the MG4+ plugin free of charge. Inspired by a classic Series 500 EQ, MG4+ enhances the original with refined high-frequency control and linear phase operation, delivering smooth detail and uncompromised fidelity.
The Series 500 hardware unit which MG4+ is based upon has found its way onto the records of hundreds of chart-topping artists, with engineers choosing it time and again to achieve a perfectly pristine vocal sound. And here’s your chance to add a digital recreation to your mixing arsenal totally free of charge.
To claim your copy of MG4+, simply follow this link, enter your email address and Antelope Audio will provide you with download instructions. Easy as that!
“The unit that inspired us to create MG4+ is an amalgam of intuitive controls, careful design, and ground-breaking features,” says Antelope.
“Just like the original hardware, our digital reincarnation of this game-changing EQ will yield results as soon as you add it to your FX chain so why wait any longer?”
Antelope Audio’s ever-expanding library of native plugins is rooted in a rich legacy of analogue sound shaped in professional studios. And that heritage lives in every plugin.
Each plugin combines the soul of the hardware that inspired it with the precision of modern digital design. Through faithful emulations of original analogue hardware devices, including pitch correction units, delays, reverbs and distortion, Antelope Audio continues the pursuit that started it all: the timeless craft of perfect sound.
It’s worth noting, too, that if you already own Antelope Audio’s Synergy Core audio interface, buying one of the brand’s Native plugins also unlocks its real-time version, processed via the Synergy Core’s DSP for zero latency rather than your computer’s CPU.
You can explore Antelope Audio’s library of over 75 plugins via its official webstore, and unlock them all instantly with its access-all-areas pass, Antelope Cosmos, which is available on a 14-day free trial.
The post Antelope Audio is giving away MG4+, its faithful digital recreation of a classic Series 500 six-band EQ appeared first on MusicTech.

Opusonix streamlines Mix Review and Collaboration for Modern Producers
Opusonix is a web-based platform (with a free tier) designed to simplify mix reviews, client collaboration, and project management for producers and audio engineers. At its core, Opusonix brings all the moving parts of a typical mix project, like audio tracks, feedback, revisions, and task lists, into a single, organized workspace. So, if you’re working [...]
View post: Opusonix streamlines Mix Review and Collaboration for Modern Producers

Wes Audio unveil the ng78 The latest arrival to Wes Audio's Next Generation outboard range introduces a stereo FET compressor based on the 1178.

Antelope Audio launches individual plugin licenses and gives away MG4+ EQ for free
Antelope Audio has officially introduced individual perpetual licenses for its Antelope Audio Native plugin range, marking a new chapter for the company’s software ecosystem. To celebrate, the developer is offering the MG4+ EQ plugin as a free download for a limited time. Previously, Antelope Audio’s plugins were primarily tied to its Synergy Core interfaces, where [...]
View post: Antelope Audio launches individual plugin licenses and gives away MG4+ EQ for free

How William Carkeet recorded an organ in a derelict Primark store, then turned it into a plugin“I wanted to get out of my studio,” says William Carkeet of the idea that led to his new EP, prmrk. Having long been drawn to space in music and production, the sound artist, composer and film music editor took a decidedly unique approach: recording a bellow organ in a Primark store that’s been derelict since 2012.

READ MORE: Hybrid music production in 2025: The good, the hard, and the recall

While he mostly performs as one half of art-pop duo Robbie & Mona, and is known for his work with composer Jerskin Fendrix on Yorgos Lanthimos’s movies Kinds of Kindness and Bugonia, Carkeet likes to strip things back when it comes to his own music. “I always want the listener to feel like they’re inside the actual space the music was recorded in,” he adds.
This was certainly true of the decisions that led to him composing prmrk. “I wanted to stick to one simple concept and force myself to find different ways of making that idea interesting,” he says. The new approach felt rewarding to Carkeet because “normally you rely on layers, melodies, bass, beats and plug-ins to make a track engaging, but when you strip all that away, whatever you’re doing has to hold its own”.
Image: Press
With this in mind, he says that creating the five-track EP was an exploration of what he could do with the instrument and the space. “I’m not much of a keys player,” he admits, “so whenever I mess around with instruments or gear, there’s always a big element of experimentation and an approach to make whatever it is not sound like what it is.”
As for the building, Carkeet says that it “chose him”. Not only does he work part-time at the nearby Margate School of Art as their art technician, but his students had been using the second floor of the Primark building as storage during the school’s restoration works. During this time, he also needed to relocate his organ. “I originally moved it out of the school and into the Primark to protect it from the dust, so it was surrounded by a load of building supplies for a while,” he recalls.
Although Carkeet would pop in every now and then to have a play on it, he later decided to put the organ downstairs in the empty ground floor “because it had a huge reverb”. After convincing one of the builders to help him carry it downstairs, he began recording. However, the location presented a number of problems – chief among them “noise that sounded like ghosts running around upstairs”.
Image: Press
This, Carkeet says, made it “a struggle to record when it got dark”, though there were also some challenges during the day. “The space has huge windows and doors opening onto the seafront, so while I was recording, people walking by would peek in, maybe wondering if I was a ghost,” he laughs. With this in mind, he says the recording of the EP “almost turned into a performance piece in itself”.
While there weren’t many technical issues, one “hassle” that Carkeet faced along the way was the cabling. “I didn’t have XLR leads long enough for room mics, so I ended up daisy-chaining loads together to make these super-long cables.” He also found it hard to resist the temptation of adding other elements to the compositions. “I had to stop myself from reopening sessions and tinkering,” he says, adding that he even made a rule where he could only work on the tracks while in the Primark building. Following this restriction meant that he couldn’t sneak in extra layers later on in his studio.
The project also saw Carkeet experiment with low-quality recording and sample rates. “When audio is slowed down and stretched digitally, it starts to introduce artefacts into the audio to replace the missing code,” he explains. Usually, Carkeet considers, these are two things that engineers and producers usually stray away from because they can be “an audible sign of poor quality or imperfections”. However, for this project, it seemed to be the right fit: “this was what I was searching for as it felt like it represented the neglected, degrading structure of the Primark building”.
While it could be inferred that Carkeet is keen to convey a deeper meaning with his prmrk project, he says that’s not the case. “I guess there’s a comment on the state of the UK economy with the decline of the high streets and underfunded councils, but I’m actually trying to stay clear of the obvious political stance it brings up.”
Image: Press
Instead, friends he’s spoken to who grew up in the area have shared with him their “romantic nostalgia” for the building. “Apparently, when it was open, all the teenagers in the area would go on dates to the Primark building.”
Viewing the structure as rare and unique yet “rough round the edges” thanks to graffiti, smashed glass, dead pigeons and mouldy 70s-style carpets, Carkeet also decided to create a DIY reverb plug-in using a frequency sweep of the building.
“It’s basically a digital archive of the space,” he says of prmrk_impulse response — AKA track six of the CD version of the EP (whose front cover includes instructions on how to add the WAV file into a compatible plugin). “So when the building is eventually turned into a bar/restaurant or luxury flats, we’ll still be able to access its sonic environment”.
Intentionally creating sonic imperfections to mirror the building’s dilapidated feel may have been Carkeet’s plan, but the outcome of this technique was never certain.
“There’s no real way of controlling it,” he admits. “You have to give the music over to the ghosts in the code basically,” he adds, referencing the influence that a research project called ‘The Ghost in the MP3’ has had on him over the past few years. “It could sound bad or amazing, but I’m always searching for those unpredictable things in production.”
‘prmrk’ is out now on Spinny Nights
The post How William Carkeet recorded an organ in a derelict Primark store, then turned it into a plugin appeared first on MusicTech.

GRAMMY Winning NYC Jazz Singer/Songwriter/Arranger Makes It WorkThis week, Ari is joined by Grammy-winning jazz singer-songwriter Nicole Zuraitis to discuss her journey through live recording and touring.

Bitwise Solana Staking ETF notches $55M trading volume on debutBitwise’s Solana staking ETF saw $55.4 million on its first day, the highest of all crypto ETFs this year, alongside the launch of Hedera and Litecoin ETFs from Canary Capital.

Waabi unveils autonomous truck made in partnership with VolvoThe move comes as Waabi announced earlier this year that it was partnering with Volvo Autonomous Solutions to build a custom purpose built truck based on Volvo’s auto autonomy platform using Waabi's software stack.