Homeland Security reportedly sent hundreds of subpoenas seeking to unmask anti-ICE accountsThe Department of Homeland Security has been increasing pressure on tech companies to identify the owners of accounts that criticize ICE.

Vintage Canadian Video Hardware Becomes Homebrew ComputerAre you in the mood for a retrocomputing deep dive into the Scriptovision Super Micro Script? It was a Canadian-made vintage video titler from the 80s, and [Cameron Kaiser] has written up a journey of repair and reverse-engineering for it. But his work is far more than just a refurbish job; [Cameron] transforms the device into something not unlike 8-bit homebrew computers of the era, able to upload and run custom programs with a limited blister keypad for input, and displaying output on a composite video monitor.

Hardware-wise, the Super Micro Script is almost a home computer, so [Cameron] got it accepting and running custom code.A video titler like the Super Micro Script gave people the ability to display bitmapped images (like text or simple graphics) onto a video stream electronically. A standalone device, under the hood, it uses a 6502 as CPU and a Motorola 6847 VDG video chip. [Cameron] observes that architecture-wise, it actually had a lot in common with early 8-bit home computers. Sure, it performed only one “job” but that really had more to do with its restrictive firmware than anything else.
[Cameron] obtained a used unit and repaired it, reverse-engineered the scrambled address and data lines (an anti-cloning and anti-tampering measure), and converted it into something for which he could write his own software and run his own programs. As for uploading those programs? A bit-banged serial port on I/O borrowed from the blister keypad, running at a frankly quite respectable 19.2 kbps.
We hope you’re intrigued, because [Cameron] has one more surprise: he created a MAME emulator for the Super Micro Script called SMSBUG. Originally created to make software development easier, its existence also means anyone can join in on the vintage computing fun. The emulator, along with other handy utilities and info, is available on GitHub.

Red Rock Sound 11FF Immersive Compressor / LimiterThe 11FF Compressor/Limiter was developed in collaboration with NICHOLAY MIX. Most of us are musicians and/or sound engineers. We love the recording process and are truly inspired when tracks are recorded beautifully. Our goal in developing the 11FF was to create a compressor/limiter that we ourselves would enjoy using—one that would evoke that wow factor that comes from listening to music recorded in its most natural, inspired form. We made a careful side-by-side comparison of the hardware original and our emulation to ensure the 11FF plug-in works indistinguishably from its physical prototype in terms of sound character. Designed for fast and efficient work on mid/side, stereo and the objects, the beds (fixed channels) of immersive mixing environments. Read More

Flame Sound offers Heatwave Cinematic Soundscapes FREE until February 15
Flame Sound offers Heatwave, a cinematic soundscape library, for free until February 15 as a Valentine’s Day gift. As many BPB readers already know, Flame Sound is my cinematic sound design label. I publish premium sounds for movie production, trailers, game development, and music production while keeping the prices accessible for beginners and indie creators. [...]
View post: Flame Sound offers Heatwave Cinematic Soundscapes FREE until February 15

Get the Moonwave FX Parallax multi-FX plugin for FREE at Audio Plugin Deals
You can now get the Moonwave FX Parallax multi-FX plugin for free at AudioPluginDeals. We covered a few of the Moonwave FX one-knob plugins last year, including Illume, Ripple, and Aperture. Now, we’ve got something more substantial with Parallax, a morphing, dual-engine multi-FX plugin. Parallax is available in AU, VST3, and AAX formats for macOS [...]
View post: Get the Moonwave FX Parallax multi-FX plugin for FREE at Audio Plugin Deals

Leicester Music Conference The organisers of the Leicester Music Conference have released a full programme schedule for the event, as well as announcing that the evening showcase will feature a performance from London-based rapper Professor Green.

What is frequency masking? Definition, causes, and how to fix it
Learn about what frequency masking is, when and why it happens, and how to fix it in your mix.

Live Review of CY&ICat’s Cradle Carrbora, NC

Contact: cysteelecobb@gmail.comWeb: instagram.com/cy_and_i_bandPlayers: Max McMichaels, guitar, vocals; Cy Steele-Cobb, keys; Gus O’Brien, drums; Aidan Gillette, bass

The CY&I Christmas Show at the Cat’s Cradle Back Room quietly but convincingly made the case that a modestly talented, traditional four-piece rock band can still leave a meaningful impression—and walk offstage feeling pretty damn good about their night, their young ensemble, and their delightfully wacky, left-of-center songs.

In an era bloated with overproduction, algorithm-tested sameness, and an endless stream of carefully calculated “content,” it’s easy for genuinely human bands to dissolve into the noise. Everything filters into the background haze—until suddenly, WHAMO!—out from the shadows steps a band that’s fun, uncomplicated, and refreshingly unconcerned with impressing anyone other than themselves and the room in front of them. CY&I doesn’t arrive with a manifesto or a rigid aesthetic. They simply plug in, lock eyes, and play.

There’s a developed raison d’être here—something you feel more than analyze. It’s sometimes hard to put your finger on exactly what it is, and that’s part of the charm. CY&I sounds like a band still discovering itself in real time, and that sense of discovery gives the music its pulse. Most importantly, this young four-piece is clearly having as much fun onstage as the audience is having watching and listening.

One of the most distinctive elements of CY&I’s sound is their unique instrumentation and how effectively it fills the room. While technically a four-piece, the band often feels larger than that, thanks to clever arrangements and a thoughtful use of sonic space. The interplay between guitars leans more toward texture and rhythm than showmanship, allowing songs to breathe while still sounding complete. Even in quieter moments, there’s an intentional density to the sound that keeps things grounded and engaging.

“Highway Life” kicked off the set with a Byrdsian jangle and Petty-esque twang that immediately established the band’s melodic instincts. That shimmering guitar tone—equal parts chiming and earthy—set the template for much of the night. From there, CY&I rolled seamlessly into a tight run of originals including “Tell Me Why,” “What Christmas Means to Me,” and the wonderfully off-kilter “I Try (Choo Choo).” Each song felt like another small chapter in the band’s developing narrative, quirky but never careless.

Perhaps most impressive is that despite having just one primary vocalist—the guitarist handling all lead vocals—the band never sounds thin. There’s no scramble to fill gaps or disguise limitations. Instead, the instrumental arrangements do the heavy lifting, wrapping around the vocal melodies in a way that feels natural and unforced. The rhythm section plays a crucial role here, providing a sturdy, often subtly inventive foundation that keeps the songs moving forward. The result is a sound that feels full, cohesive, and confident.

That fullness carried through “I Hate My Friends,” a sharp-edged crowd favorite that balanced humor with a hint of self-awareness, before the band barreled into “Tonight, It’ll Be Christmas Day,” closing the first stretch of the set with momentum and a room-wide grin. At no point did the energy dip; CY&I understands pacing, and they know when to lean in and when to let a groove settle.

As the set progressed, the band continued to coalesce right before the audience’s eyes. What stood out most was what wasn’t happening—no jaw-dropping, face-melting solos, no attempts at instrumental dominance. This is a band committed to supporting one another, trading small musical artifacts and arpeggios across the stage, and serving the songs above all else.The post Live Review of CY&I first appeared on Music Connection Magazine.

Signing Stories: Elanor MossDate Signed: October 2025Label: Merge RecordsType of Music: FolkManagement: Alex Zinovieff - Always ManagementBooking: Angie Rance - Earth AgencyLegal: Paul Spraggon - SSBPublicity: Patrick Tilley, Jacob Daneman - Pitch Perfect PR; patrick@pitchperfectpr.com, jacob@pitchperfectpr.comA&R: Mac McCaughanWeb: elanormoss.com

London’s Elanor Moss is an artist’s artist. As such, she independently released a pair of introductory EPs. That self-reliant attitude remained strong when putting together her debut full-length. Knowing she had limited financial resources, her collaborators helped fund the project. In an effort to make recording as affordable as possible, the album was completed in just two or three days. 

Yet the singer/songwriter knew how helpful it could be to have a label providing support, so she began networking. Moss sent the freshly minted LP to a friend in the Dublin music scene who recommended she pass it along to Basin Rock Records. She wisely took his advice. “They’ve put out some amazing records,” Moss enthuses regarding the outsider folk label based in Ireland. “A few months later, I got a message from Merge Records.” Basin Rock had passed it along without her knowledge. Moss felt immediate excitement, as she’s a longtime fan of Merge, home to one of her “all-time favorites,” The Magnetic Fields. 

Additionally, she found the label’s artist-led history and attitude appealing. Indeed, Merge didn’t demand any changes to the finished recording. “I just wanted to work with people who were enthusiastic about my music, love it, and understand it,” she discloses. 

Committing to Merge nonetheless depended on the offer. Since the literary artist wanted to make simultaneous inroads in both America and the U.K., tour financing remained a salient factor. “I’m thrilled to be with Merge,” the lucky signee purrs. “It feels like such a good fit, and an exciting, new start.” 

Moss points out that she focused on creating great music before seeking a label, a tactic she suggests others follow. “I was very much living by my own intuition, creatively, and then hoping it would resonate with the right home. The post Signing Stories: Elanor Moss first appeared on Music Connection Magazine.

Airbnb says a third of its customer support is now handled by AI in the US and CanadaAirbnb was poised to introduce an app that doesn't just search for you, but one that "knows you." CEO Brian Chesky said, "It will help guests plan their entire trip, help hosts better run their businesses, and help the company operate more efficiently at scale."

White House crypto adviser says banks shouldn't fear stablecoin yieldCrypto companies and platforms that provide stablecoin rewards have become a major point of contention in the CLARITY crypto market structure bill.

Inside Raiders of the Lost Ark (Atari Style)It’s a bit ironic that an Atari 2600 game based on Raiders of the Lost Ark — a movie about archaeology — is now the subject of its own archaeological expedition as [Dennis Debro] and [Halkun] spent time reverse-engineering the game. Luckily, they shared their findings, so you can enjoy it the same way you can visit a king’s tomb without having to discover it and dig for it. If you don’t remember the game, you might enjoy the demo from [Speedy Walkthroughs] in the video below.
If you are only used to modern software, you might think this is little more than someone dumping the program code and commenting it. However, on these old, limited systems, you have to really understand the actual architecture because there are so many things you have to manage that are specific to the hardware.
For example, the game has two 4K ROM banks that use a strange switching mechanism. The entire game is built around the NTSC television signal. Everything is oriented toward generating the 60 Hz frame rate. Game logic runs during the vertical blanking and over-scan sections to prevent strange visible artifacts due to software running.
This is a fascinating look inside game coding as it existed around 1982. Of course, you can also run everything using emulation. Usually, our reverse engineering is more hardware-related. But we do love these old games, too.

From UMG’s approved Downtown deal to Spotify’s AI ambitions… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Tone2 update Saurus The latest version of Saurus implements a number of new features that improve the instrument’s audio quality, along with some new quality-of-life features and a fix for a prominent bug. 

Kulshan Studios Besna House Soundset for Access Virus C & Virus B Series & Osirus95 groovy House presets, compatible with the legendary Access Virus C and Virus B series of hardware synths. This soundbank is 100% House-oriented, which means no weird brass, pianos, or FX. The patches in Besna come straight out of songs written using the Virus (and many more). So this soundset is designed to exploit the C's unison, spectral waves, and multitimbral virtual analog sound engine to their fullest potential. Patches in Besna are based on sounds from songs by the likes of John Summit, Deadmau5, Astrality, Tiesto, FISHER, Kygo, INNERVERSE, Robin Schulz, Westend, Alesso, Benassi Bros, Julien Fade, Tony Igy, Hardwell, 5HOURS, ZHU, Hayley May, Martin Garrix, Porter Robinson, Jack Villa, Morgan Page, Mord Fustang, and many many more. And to cap off the bank some patches were set to Initial, so you have room to write and store your own patches without overwriting any existing sounds. No 3rd party FX were used in these sounds. Sounds in this preset pack are suitable for the Progressive House, Deep House, Tech House, Bigroom House, Slap House, Afro House, Tropical House, and Electro House genres, and are organized by category into Leads, Plucks, Pads, and Basses, for quick reference. All patches are royalty-free and delivered instantly via email as a 24-hour download link. Requirements: Access Virus TI, TI2, Snow, or Polar synthesizer. Also compatible with Adam Szabo Viper VSTi* and the The Usual Suspects Osirus. *there will be some differences in some sounds due to differences in the architecture and features between the TI2 and Viper. Read More