OpenAI exec leaves to found materials science startupLiam Fedus, OpenAI’s VP of research for post-training, is leaving the company to found a materials science AI startup. The Information initially reported Fedus’ plans. In a statement on X, Fedus confirmed the report and added a few additional details. “My undergrad was in physics and I’m keen to apply this technology there,” Fedus said […]
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Solana futures finish first trading day on CMESolana (SOL) futures traded for the first time on the Chicago Mercantile Exchange (CME) Group’s US derivatives exchange on March 17 as the cryptocurrency’s mainstream adoption gains momentum. In February, CME tipped plans to list two types of SOL futures contracts: standard contracts representing 500 SOL and retail-friendly “micro” contracts representing 25 SOL each. They are the first regulated Solana futures to hit the US market after Coinbase’s launched in February. The contracts are settled in cash, not physical SOL. On March 17, the contracts’ first trading day, SOL futures representing a notional value of nearly 40,000 SOL, or nearly $5 million at current prices, changed hands on the exchange, according to preliminary data from CME’s website.Early pricing data indicates a potentially bearish sentiment on SOL among traders. The CME does not publish finalized data on daily trading volumes until the subsequent business day. The CME’s April futures contracts traded at a price of $127 per SOL — $2 per token less than contracts expiring in March, CME data shows. On March 16, trading firms FalconX and StoneX completed the first-ever SOL futures trade on CME, they said. “Solana has come a long way in the last five years,” Chris Chung, founder of Solana-based swap platform Titan, told Cointelegraph on March 17.“Solana futures are going live on the CME today, and SOL [exchange-traded funds] will surely follow shortly behind,” Chung said. CME listed SOL futures on March 17. Source: CMERelated: Solana CME futures tip impending US ETF approvals — ExecETF approval oddsOn March 13, Chung told Cointelegraph he expects the US Securities and Exchange Commission (SEC) to approve asset managers VanEck and Canary Capital’s proposed spot Solana ETFs as soon as May.At least five ETF issuers have filed with the US Securities and Exchange Commission to list spot Solana ETFs. The regulator has until October 2025 to make a final decision on the filings. Bloomberg Intelligence gauges the likelihood that SOL ETFs are ultimately approved at approximately 70%. Futures contracts are standardized agreements to buy or sell an underlying asset at a future date. They are commonly used for hedging and speculation by retail and institutional investors. Futures also play a crucial supporting role for spot cryptocurrency ETFs because regulated futures markets provide a stable benchmark for measuring a digital asset’s performance.CME already lists futures contracts for Bitcoin BTC and Ether ETH. US regulators approved ETFs for both of those cryptocurrencies last year.Magazine: 5 real use cases for useless memecoins

Primary Wave struck a $100m JV with Times Music in 2023. Now that venture has acquired two companies in India.Times Music has acquired India's Symphony Recording Co. and ARC Musicq
Source

Revealed Recordings Revealed Serum Rave Sequences Vol. 1Revealed Serum Rave Sequences Vol. 1 is a collection of 40 presets, packed with high-energy drop riffs and melodies designed to ignite your creativity. Just hold a note, and the programmed... Read More

Recreating A Braun Classic With 3D PrintingBraun was once a mighty pillar of industrial design; a true titan of the mid-century era. Many of the company’s finest works have been forgotten outside of coffee table books and vintage shops. [Distracted by Design] wanted to bring one of the classics back to life—the Braun HL70 desk fan.
The original was quite a neat little device. It made the most of simple round shapes and was able to direct a small but refreshing stream of air across one’s desk on a warm day. In reality, it was probably bought as much for its sleek aesthetics as for its actual cooling ability.
Obviously, you can’t just buy one anymore, so [Distracted by Design] turned to 3D printing to make their own. The core of the build was a mains-powered motor yanked out of a relatively conventional desk fan. However, it was assembled into a far more attractive enclosure that was inspired by the Braun HL70, rather than being a direct copy. We get a look at both the design process and the final assembly, and the results are quite nice. It feels like a 2025 take on the original in a very positive sense.
Files are available on Printables for the curious. It’s not the first time we’ve contemplated fancy fans and their designs. Video after the break.

Changes at SXSW Music 2026: Festival Issues Statement[UPDATED] After news stories surfaced about cutbacks to SXSW Music in 2026, the festival issued an official clarification.
The post Changes at SXSW Music 2026: Festival Issues Statement appeared first on Hypebot.

Get ORU Audio Petrichor granular delay for Plugdata for free in limited time offer
ORU Audio released Petrichor, a granular effect for creating stuttery, glitchy, ethereal sounds. It’s free using the code “NEONRAIN.” The plugin, compatible with macOS, Windows, and Linux, runs in the plugdata environment as either VST3, LV2, CLAP, or AU. Plugdata is both free, open-source, and easy to install. Petrichor features three different sound engines that run in [...]
View post: Get ORU Audio Petrichor granular delay for Plugdata for free in limited time offer

“No AI-driven feature will ever replace your taste, expertise, and storytelling ability – those are what make you exceptional”: Krotos CEO addresses AI concerns from sound designersKrotos’ CEO and founder, Orfeas Boteas, has written a blog on the subject of AI, in which he has addressed concerns that the brand’s tools will replace sound designers.
Known for its popular Studio software and plugins like Dehumaniser and Reformer, Krotos launched the “world’s first” commercial AI image-to-sound feature – the Ambience Generator V2 – back in January. At the time, MusicTech reached out to Krotos to learn more about its use of AI, and which it stressed to us is not generative.

READ MORE: Hans Zimmer says his music is “not original”: “My music is a subtotal of everything I’ve heard all my life”

Now, in his open letter, Boteas has further addressed how the brand intends to use AI going forward, and why he feels it will never replace musicians on the whole.
“I know that every time we release something new, there are concerns about what it means for the industry. One of the biggest questions I’ve been hearing lately is: ‘Is Krotos trying to replace sound designers and composers with AI?’ Let me be absolutely clear: No, we are not,” he says.
“We do not use generative AI to create sound effects or music. The quality is not there yet. Instead, our focus is on high-quality, human-created content combined with AI-powered tools that enhance workflow, not replace creativity.
“For example, AI Ambience doesn’t generate sounds, it analyses professionally recorded audio and builds interactive presets from it, to help sound designers create seamless backgrounds more efficiently.”

Boteas goes on to further address the misconceptions of AI, as he explains that Krotos’ tools are intended to remove roadblocks “so you can focus on the creative decisions that matter”, rather than take your place.
“Here’s the thing: The best sound designers still rise above the tools they use. No AI-driven feature will ever replace your taste, your expertise, and your storytelling ability, those are what make you exceptional,” he says.
It seems Boteas feels the skepticism of AI is just the same as the fears that people once had about other technology in the past. In his essay, he cites examples of former panics over the introduction of the DAW, and how people believed it would “replace producers”, or drag and drop video editing tools and smartphone cameras; today, we still need professional video editors and photographers, and these careers have not been wiped out by modern tools.
“Our goal has always been to help sound designers, composers, and filmmakers bring their ideas to life faster, more efficiently, and with greater creative freedom,” he later adds. “I completely understand initial skepticism toward new tools, especially when AI is involved. But I encourage you to try them and see how they fit into your workflow. Like the many tools that came before, they’re designed to enhance creativity, not compete with it… We’re here to help sound designers and composers, not to replace them.”
To find out more or read the full letter from Orfeas Boteas, head over to Krotos.
The post “No AI-driven feature will ever replace your taste, expertise, and storytelling ability – those are what make you exceptional”: Krotos CEO addresses AI concerns from sound designers appeared first on MusicTech.

Native Instruments Traktor Z1 MK2 review: A massive upgrade – but does it go far enough?£214, native-instruments.com
In my review of Native’s Traktor X1 MK3 controller, I note that the company has steered away from developing larger hardware units in favour of more compact ones. Its latest is an updated Z1 controller – the MK2 – that complements the X1 and also the F1, with each having its own specific focus in terms of performing with the brand’s Traktor DJ software. The Z1 is the one to get for mixing – though there is a little more to it than that.

READ MORE: Is Native Instruments’ Traktor X1 MK3 the new go-to controller for the vast majority of DJs?

Where the X1 has playback controls in abundance along with some mixing capabilities, the Z1 is much more of a classic club-style mixer with proper volume faders and a crossfader. It shares the X1’s underside colour lighting system which here too can be customised in Traktor’s preferences and used to give you visual feedback. The Z1 powers over USB and also works as an up-to-96 kHz audio interface so it’s an incredibly portable way to plug your Traktor setup into any sound system.
The Z1 uses a USB-B to USB-A cable to connect to a computer. Again, I’d flag this as an issue. Not including a USB-C cable in the box will mean virtually all Mac users need to use an adapter. While the unit’s price is reasonable it feels like there could have been an extra cable thrown in. The rear panel features stereo RCA outputs (a standard connection in DJ world) as well as a 3.5 mm main output, plus a 3.5 mm headphone out on the front edge. Space will have been the limiting factor here, with the larger 6.3 mm headphone format likely omitted for that reason.
Image: Press
The unit is class compliant meaning you don’t need any special drivers and Traktor recognises it right away so you’re getting audio out to your speakers, desk, PA and headphones in no time. A microphone input could have been something to include though again, likely space and power requirements were a factor as there’s no option to power the Z1 from a separate power supply.
There’s a lot that’s new since the original Z1. The list starts with the ability to control volume and effects on all four of Traktor’s decks by using a key press to flip between decks AB and CD. Unlike the X1 this is seamless and doesn’t require any rebooting. The Z1’s default mode is to control EQ and filter for the selected deck, with hi, mid and lo knobs followed by a filter control knob on the left and right sides of the control surface. Visual feedback is via the small yet detailed OLED displays that offer an impressive range of information for their size, animating dynamically according to your actions.
The controller’s second mode is Stem control mode, activated using the Stem button at the top of either side. When switched on and with a Stem track loaded into a deck the knobs change function to control the level of each of the four stems in that track. It’s fun playing around with Stems generally and here the ability to live mix them essentially expands your mixing setup to up to 16 Stems across the four decks. In the more likely event that you’re just using one or two Stem decks along with regular stereo decks it’s still a really creative way to bring drums, vocals and more in and out on the fly with just a few hardware movements, elevating any performance.
Image: Press
Another big new feature is mixer effects control, available using the four FX buttons and the FX On/Off buttons and variable knobs. Simply press buttons 1-4 to activate an effect in a deck and use the knob to change its mix value. In Traktor’s preferences, change the effects assigned to slots to the ones you use most often. Control of effects isn’t as comprehensive as on the X1 which lets you dig into individual parameters. Here it’s really just effects levels, but it’s still a welcome addition to be able to access this from the hardware. The Z1 can be switched into MIDI mode but like the X1, is limited to standard MIDI learn-based assignment in the software you connect it to. Still, it’s handy to have the option. You can switch between MIDI and Traktor mode by using Shift + the Mode button.
The faders feel slick and dynamic as you’d hope from a company with this kind of DJ pedigree and have just the right mixture of fluidity and resistance. There’s a ‘soft pickup’ feature too where you’ll be told when you’ve selected a value that doesn’t match a fader’s current position and need to move the fader to pick up the value, avoiding nasty surprises. All the monitoring controls you need are located up the centre, with deck gain, headphone pre-fader listen buttons, headphone volume and mix and master gains easily accessible.
The Z1 MK2 is a fine mixer but in truth, it really makes the most sense when paired with an X1 since you’re not going to want to move back to your computer keys to browse, load and loop tracks, things that the Z1 can’t do. It can play decks and by customising controls in software it can perform other actions like sync and cue but these are relatively limited, and often triggered via Shift+press. The Filter select button can be set to act as a global shift button but there is no dedicated button just for this as there is on the X1. You can customise the shift layer controls in the Z1 Mk2 preferences pane, though.
Image: Press
While you don’t absolutely need to add an X1, most DJs will want that control over browsing, loading, looping and the other things that make the Traktor platform so powerful. If you get both your costs are approaching £500. This is significantly more than the larger, £309 S2 which has features including twin jog wheels, though not all the in-depth effects control of the X1.
The prime reason to go with the Z1 – or indeed a combo with the X1 – is the incredible portability. While the S2 is marketed as portable it’s not close to these lightweight units for sheer use-anywhere convenience. Consider also that with the Z1 you’re getting a capable audio interface that you’d need to add otherwise and it doesn’t seem quite as steep. There are also a bunch of third-party DJ controllers that are compatible with Traktor so you’re not limited to pairing the Z1 with a Native Instruments unit, if that’s something that appeals.
The Z1 MK2 seems – for now at least – to complete the Traktor controller family. With an emphasis firmly on live mixing, it makes a decent fist of providing hands-on effect controls for dynamic performances. As a concept, it’s slick and hyper-portable. You’ll likely want to pair it with an X1 though, the combination giving you a superb performance setup you can throw in a backpack and play anywhere.

Key features

Audio interface/controller for DJs
USB power and audio
4-deck control
Effects control
Live mixing of Stems
Extensive monitoring options
Underside lighting
Configure buttons in software
Comes with Traktor Pro 4
Hands-on control of filters and EQ
Crossfader and VU meters

The post Native Instruments Traktor Z1 MK2 review: A massive upgrade – but does it go far enough? appeared first on MusicTech.

When It Comes To Royalty Splits, Be Fair, Not GenerousOne of the most important steps to do before releasing a song is to figure out royalty splits.  It’s much more complicated than it sounds. There are all sorts of splits baked into every recording. There’s publishing (who wrote the song), which is different from “points” on the master (typically given to producers and sometimes […]

“90% of what I do is done on one software synth”: Why Hans Zimmer is “not a big analogue versus digital guy”Despite having access to some of the world’s finest hardware synths, Hans Zimmer says that the vast majority of his work is created using just one software synthesizer.
The 67-year-old composer, known for crafting some of the most iconic film scores in cinematic history, isn’t one to get caught up in the analogue versus digital debate. Speaking to Rick Beato, Zimmer explains why the U-He Zebra, specifically the Dark Zebra HZ, remains his favourite virtual instrument to date.

READ MORE: Hans Zimmer says his Rain Man score was the “beginning of orchestras having to adapt” to synth-written movie scores

“I was one of the first people to really get into computers and music and there came a point where there’s a new operating system every few months,” Zimmer recounts. “I just gave up and I just went ‘I need to concentrate on my music.’”
He continues, “So I started to subtract things out of my life and I started getting very good at the things that I kept. For instance software synthesizers, 90 percent of what I do is done on one software synth.”
That synth is the Dark Zebra HZ, which Zimmer has worked with for much of his career: “I’ve been working with that thing for so many years now and I still haven’t run out of ideas.”
Zimmer also shares his fondness for Synapse Audio’s The Legend HZ synth, describing it as “a miniMoog with one important improvement”.
“You don’t have to do that switch for the decay,” he says. “For the release you actually have a proper release. But it sounds as good as the real thing.”
As someone who actually owns “a few of the real things around”, Zimmer explains, “I’m not a big analogue versus digital guy. I’m just going, ‘if it sounds good it sounds good.’ I don’t care how it’s made.”
“I love the way things are progressing,” he adds, noting the way “there have always been people who write beautiful software or who make beautiful hardware.”
The interview also sees Zimmer making the surprising claim that his music is “not original”, saying: “My music is a subtotal of everything I’ve heard all my life.”

The post “90% of what I do is done on one software synth”: Why Hans Zimmer is “not a big analogue versus digital guy” appeared first on MusicTech.

Bristol’s iconic Motion nightclub says it’s “increasingly likely” it will have to close, but has “big news coming soon”Motion, a nightclub in Bristol, says it is “increasingly likely” it will have to leave its premises this summer.
Despite the potential closure, the club says it is continuing to work towards a future where motion, and other spaces like it, can thrive. It also says it has “big news coming soon”.  The update follows a statement from Motion made in November, in which the club revealed it had been turned down for a lease extension. The lease is due to expire in July 2025, almost 20 years after the club first opened its doors in 2006.

READ MORE: “This could be really, really terrible for creatives”: Music lawyer explains why she’s “scared” of Spotify’s upcoming premium tier

Now, Motion says it has “put forward a strong, carefully thought-out bid to the landlords of the Motion site, one that not only offers a significant sum of money but also lays out a solid planning case for why the venue must remain”.
It adds, “Since we announced that our lease was ending, the support has been overwhelming. From the people who’ve raved here to the artists and promoters who’ve built their careers on our dancefloors, to local voices who understand what Motion means to Bristol; this place matters. But despite all our efforts, it’s becoming increasingly likely that we’ll have to leave the venue in July.”
Despite this, Motion is continuing to fight for “the strongest possible future”. “We don’t have a billionaire owner or a corporate backer bankrolling us – but we have something far more powerful: you. The artists, the promoters, the community, and every single person who has stepped through Motion’s doors over the past 20 years. You are the reason this venue is still alive, and together, we’ll make sure it stays that way.
“We’ve secured significant financial backing and have the support of local bodies that recognise Motion’s value, including efforts to have the venue registered as an Asset of Community Value. That’s an important step, but let’s be real – it shouldn’t have to come to this,” its statement reads.
“If Motion goes, Bristol loses more than just a venue. It loses a part of its soul… Watching spaces like this disappear, knowing more could have been done to protect them, is gutting. It’s happening in every major city, and it’s happening here. We’re fighting it with everything we’ve got, but we need the powers that be to step up too.”

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A post shared by Motion (@motionbristol)

Motion is one of many clubs in the UK struggling to stay afloat. A recent report from the NTIA revealed that the economic contribution from nightclubs in 2024 was down 16 percent from £1,463 million in 2023 to £1,232 million, and that the number of nightclubs in the UK now sits at 851, a decrease from 875.
Find out more about Motion, or read its full statements on the lease expiration.
The post Bristol’s iconic Motion nightclub says it’s “increasingly likely” it will have to close, but has “big news coming soon” appeared first on MusicTech.

Live Nation DoJ lawsuit continues under TrumpA federal judge in New York denied Live Nation's motion to narrow the antitrust case brought by the US Department of Justice and 39 state Attorney Generals from both parties.
The post Live Nation DoJ lawsuit continues under Trump appeared first on Hypebot.

Erica Synths launch the Echolocator The Echolocator has been created in collaboration with 112db.com, and offers a range of delay effects that benefit from in-depth hands-on control.

Time for a new drum machine? Native Instruments’ Maschine MK3 and Elektron’s Digitakt e25 Remix Edition are both $200 off at ReverbAre you looking to upgrade your production rig with a new drum machine/sampler? If so, you’ve picked the perfect time. Two top-quality units are discounted by $200 apiece at Reverb for a limited time: Native Instruments’ Maschine MK3 and Elektron’s Digitakt e25 Remix Edition.
The Maschine MK3 comes as Reverb Certified Pre-Owned B-stock – with Native Instruments Certified Refurbished Quality – priced at $399, down from $599.

READ MORE: Spitfire Audio’s Swarms collection brings together three of its standalone libraries – and is inspired by fine art

With two high-res RGB colour displays for precision sample slicing, sound tweaking and more, Maschine MK3 comes with 25 pro-quality studio and creative FX including filter, EQ, delay, reverb and compressor.
There’s also 16 large, ultra-sensitive pads for easy, precise two-handed drumming, as well as touch-sensitive knobs for parameter tweaking. Other features include a Smart Strip for strumming notes, pitch bending sounds, performing with FX and more.
We don’t expect this deal to last for long, so click the button below to learn more and grab yours:
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Meanwhile, if you’ve got a bit more budget to spend, Elektron’s Digitakt e25 Remix Edition drum machine and sampler is also $200 off, taking its original price of $999 down to $799.
“A compact sampling drum machine that is capable of summoning monstrous beats or delicately layered sample-scapes, before setting you up to unleash your creation using the powerful sequencer,” says Elektron. 
“Drum machines are something of an Elektron specialty, but this is only half of Digitakt’s story. Watch it weave a spectrum of wonderful sounds into any tale. Let the machine do the talking, and see where the story leads.”
Housed within are eight internal audio tracks, eight dedicated MIDI tracks, one multi-mode filter and assignable LFO per track, delay and reverb send FX, sampling capabilities, 64MB of sample memory and more.
Click the button below to learn more…
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Head to Reverb to browse a full range of its latest music technology deals.
The post Time for a new drum machine? Native Instruments’ Maschine MK3 and Elektron’s Digitakt e25 Remix Edition are both $200 off at Reverb appeared first on MusicTech.