Stablecoin supply reaches $315B in Q1 as USDC rises, USDT declinesStablecoins dominated crypto trading in Q1 as investors sought safety, while rising bot usage and declining retail flows pointed to shifting market dynamics, according to CEX.io.

Telehealth giant Hims & Hers says its customer support system was hackedThe U.S. telehealth giant says hackers stole customer support ticket data over the course of several days in February.

Electro-Harmonix release EHX Classics Bundle Guitar effects experts Electro-Harmonix have teamed up with MixWave to turn a collection of their most prized pedals into plug-ins.

The Threadless Ball Screw Never Took Off, But Don’t Write It OffIf you’ve never heard of the threadless ball screw, which was invented over sixty years ago, [Angus] of Maker’s Muse has a video demonstrating the whole thing, covering its history and showcasing both its strengths and weaknesses. If you like seeing mechanical assemblies in action, give it a watch.
The device — consisting of little more than a smooth rod and three angled ball bearings — is a way to turn rotational motion into linear motion. Not a single belt, thread, or complex mechanical assembly in sight. While a simple nut on a threaded rod can turn rotation into linear motion, those come with their own issues. The threadless ball screw was one effort at finding a better way.
While it lacks precision, the threadless ball screw nevertheless offers quiet and smooth motion with adjustable tension in a very DIY-friendly design.
Threadless ball screws never really took off, although they were given some consideration for use in 3D printers back in the RepRap days. Today one can purchase quality CNC components without leaving one’s web browser, but back in the early 2000s things like lead screws and ball screws were rather more specialized, less accessible, and more expensive than they are today. RepRap folks had to make their own solutions. But while the threadless ball screw is a very DIY-friendly design, it was ultimately lacking in performance.
The main problem is they’re just not precise enough for anything like CNC work. [Angus] does some back-and-forth tests with a 3D printed unit that shows serious drift after only a few minutes. Now, he knows perfectly well that his 3D-printed test unit is far from ideal, but the rapidity at which it drifted was still a surprise. Making a carriage with two threadless ball screws — one at each end — performed a lot better, but was ultimately still flawed.
It’s not all bad. There’s zero backlash. They are mechanically simple, remarkably smooth, and utterly quiet. Also, [Angus] discovered that the maximum force this setup can be made to apply is surprisingly significant, and is directly related to the tension on the bearings. That means one can trivially adjust how easily the carriage slips  (or doesn’t) just by tightening or loosening the screw holding each bearing.
Sure, they’re not precise. But maybe you don’t need precision. Maybe you just need to move something back and forth in a strong & silent sort of way that can still slip gracefully (and quietly) if something goes awry, like bottoming out an axis. 3D printing makes it pretty easy to whip one up, so maybe there’s still a place for the threadless ball screw.

Samedi Dimanche WXR-7008-operator FM synthesizer Polyphonic, with 20 algorithms plus a custom algorithm editor, bitimbral (two-part architecture). Features SysEx FM preset import for classic DX7 libraries, filters/LFOs/FX, extensive modulation matrix, performance macros with MIDI control, built-in arpeggiator, built-in effects, and factory presets. Currently Windows-only. https://www.youtube.com/watch?v=aHVWTgOfges Read More

FILM - TV - THEATER - GAMES: DROPS for April '26

Wuthering Heights (Original Motion Picture Score) is out now via Milan Records featuring original music by composer Anthony Willis. This is the accompaniment to director Emerald Fennell’s adaptation of the classic novel. The album marked Willis and Fennell’s third feature-film collaboration. Willis crafted a score built around a restrained, plaintive theme reflecting the longing between the story’s two leads, played by Margot Robbie and Jacob Elordi. Willis’ approach moved away from traditional musical interpretations of the story, instead blending rustic textures with delicate instrumentation that complemented original songs by Charli xcx. The Warner Bros. Pictures film hit theaters in February. For more information, contact Sarah Roche at sarah@whitebearpr.com.

WaterTower Music released the soundtrack for A Knight of the Seven Kingdoms: Season 1, featuring an original score by composer Dan Romer for the HBO series set in the world of Game of Thrones. The show follows Ser Duncan the Tall and his young squire, Egg, across Westeros nearly a century before the events of the original series. Romer’s score departed from the sweeping grandeur associated with the franchise, instead embracing a more intimate, grounded sound. Using small ensembles of guitars, fiddles, and whistling, he crafted a folky score reflecting the story’s focus outside castle walls and on dusty roads, among common people. Contact Christian Endicio christian@whitebearpr.com for additional details. 

GRAMMY award-winning artist Raphael Saadiq performed a one-night-only set at Los Angeles’ famous Blue Note Cafe in March, following the sold-out summer run of his critically acclaimed one-man show. The evening featured two showings and spotlighted his celebrated career, including a performance of the Oscar-nominated song “I Lied to You” from the highly praised film Sinners. The track previously won Outstanding Original Song honors at both the Society of Composers & Lyricists Awards and the Black Reel Awards. Saadiq also performed classics from his days with the musical group Tony! Toni! Toné! as well as his solo career. He also received the Guild of Music Supervisors 2026 ICON Award. Learn more by contacting Grace Jones at grace@theoriel.co.

Clika, the debut film from celebrated music producer Jimmy Humilde’s production company Rancho Humilde is now available on digital platforms and was released on DVD. Directed by Michael Greene and inspired by musician JayDee, the story follows Chito, an aspiring small-town musician played by JayDee himself, whose viral performance clip launches him into the new wave of Mexican-American music and brings him into a world of unexpected danger. The cast also includes DoKnow, Laura Lopez, Concrete, Nana Ponceleon, Percy “Master P” Miller, Peter Greene, and Eric Roberts. Contact Jordan Kaiser at jordan_kaiser@spe.sony.com for more information. 

Subtext, a U.S. independent film company launched in January 2026, has acquired the North American rights to Gregg Allman: The Music of My Soul, which will be the company’s inaugural release. The full-length documentary, directed by GRAMMY and Golden Globe Award-winning filmmaker James Keach and produced by Michael Lehman, explore the life and work of Allman Brothers Band co-founder Gregg Allman. The film features never-before-seen interviews, rare performances from the archives, and concert footage capturing the band at their creative peak. Made in association with Rolling Stone Films, the documentary takes a look at Allman’s personal tragedies, battles with addiction, and lasting cultural impact. A theatrical release is planned for summer 2026. For details, contact Ken Weinstein at weinstein@bighassle.com. 

Oscar-winning sound editor and re-recording mixer Skip Lievsay recently appeared on the podcast “The Making Of,” where he discussed his early career, his longtime collaboration with filmmakers the Coen Brothers, and his creative approach to crafting sound in post-production. Lievsay’s extensive filmography includes renowned works like Blood Simple, Fargo, No Country for Old Men, The Big Lebowski, The Silence of the Lambs, Gravity, Birdman, Roma, and, most recently, Marty Supreme, among many others. He was also honored this year with the Cinema Audio Society Career Achievement Award in Los Angeles. Learn more by visiting themakingof.substack.com/podcast. The post FILM - TV - THEATER - GAMES: DROPS for April '26 first appeared on Music Connection Magazine.

Dialled In Records launches in London focused on South Asian music in partnership with The Collective, part of Universal Music UK’s Island-EMIDialled In Records launches with two acts: Pakistan-born producer and DJ Ahadadream, and Excise Dept, an India-based multidisciplinary collective.
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Get 75% off VirtualCZ phase distortion synth + FREE Plugin Boutique gifts
Plugin Boutique’s VirtualCZ synth is currently 75% off, bringing the price down from $79 to $19. The sale runs until April 30th. On top of that, Plugin Boutique is running a new tiered free gift promotion this month, and I’ll cover the freebies you can pick up with your purchase below. VirtualCZ is a phase [...]
View post: Get 75% off VirtualCZ phase distortion synth + FREE Plugin Boutique gifts

Bang and Olufsen marks its 100th birthday with half a million dollar speakersThis year, high-end Danish brand Bang & Olufsen turns 100. To mark the staggering milestone, the brand has released an ultra-limited line of quirky, almost alien-looking Atelier Edition variants of its flagship Beolab 90 speaker – and they come with a predictably lofty Bang & Olufsen pricetag.
If you’re after a pair of these exclusive anniversary speakers, prepare to be set back by around $450,000. It’s a pricetag that’s over double the cost of a typical Beolab 90 pair (with the typical line costing $200,000 for a pair), but the Atelier Editions are certainly unique. They could easily be mistaken for a bold, geometric sculpture, with colourways ranging from cool, steely silvers to striking purple.

READ MORE: Jamu: Your ChatGPT-style AI co-producer for Ableton Live is here – just tell it what to do

There are five different versions available. First up, the Titan Edition comes as the most simple-yet-futuristic of the bunch, stripping the Beolan 90 down to its clean aluminium core. Of course, the look was achieved with a Bang & Olufsen flare, with the cabinet being sandblasted by crushed volcanic rock particles.
Elsewhere, the Zenith Ddition also embraces an aluminium feel – but it opts for a bit more opulence. The speaker looks bedazzled thanks to its 1800 polished aluminium pearl spheres.
For those seeking a darker, more mysterious feel, the Shadow Edition replaces the speaker’s classic fabric covers with a black-coated stainless steel mesh, finished off with carbon-fiber accents scattered across the speaker’s angular design. The metal mesh renders the silhouette of the drivers within to appear almost holographic, again embracing that futuristic flavour.
There’s also a Monarch Edition, which opts for a more organic, grounded design. Its combination of white fabric and warm, Santos Palisander wood feels very classic, amped up by a unique rosewood lamella decorative panels to add some fun texture while also emphasise the speaker’s curved shape.
Perhaps the boldest of the bunch comes in the form of the Mirage Edition. The speaker looks positively iridescent, with its colourway embracing bursts of blue, magenta and purple. The gradient is achieved thanks to a newly knitted fabric, which emulates a semi-transparent holographic glimpse of the drivers while also showing off its bright colour.
For more information on the Beolan 90’s Atelier Editions, head to Bang & Olufsen.
The post Bang and Olufsen marks its 100th birthday with half a million dollar speakers appeared first on MusicTech.

What is an audio interface (and why would you need one)?
Learn about how an audio interface works, why you would need one as a musician, and which interfaces you should consider in 2026.

Universal Audio’s Voice Of God now native The latest Universal Audio plug-in to become available outside of the company’s DSP-powered UAD2 platform has just been announced, making yet another of their acclaimed processors available to all. 

Minimal Audio offers a FREE vocal sample pack: Elevated Vocals
April is Vocal Month at Minimal Audio, and the developer behind Ripple Phaser, Poly Flanger, and the free Formant plugin is kicking off proceedings with a free vocal sample pack – Elevated Vocals.   It’s worth noting that Audio Plugin Deals is offering a massive 90% discount on Ripple Phaser for a limited time. You [...]
View post: Minimal Audio offers a FREE vocal sample pack: Elevated Vocals

Get the entire April Mega Bundle from Audio Plugin Deals for $9.99 in LIMITED time offer
Audio Plugin Deals is throwing a huge sale this month, and you can now get their April Mega Bundle for $9.99. The original price is a whooping $507, so to say this is a massive discount (98% off) is almost an understatement. If you’re into cinematic and ambient atmospheres or on the lookout for percussive [...]
View post: Get the entire April Mega Bundle from Audio Plugin Deals for $9.99 in LIMITED time offer

HEDD Audio’s HEDDphone D1 are near-perfect open-back headphonesGerman brand HEDD Audio has a reputation for producing quality monitor speakers, but took a bold leap into headphone monitoring more recently in 2020 with the £1479 HEDDphone One — a flagship offering that was subsequently updated in 2023 with the more compact Two model.

READ MORE: Steven Slate’s VSX Immersion One headphones are making me consider selling my speakers

The new D1 open-backs offer a more affordable entry price and attempt to rival the fast transient response of planar magnetic headphones — popular for mixing and mastering — by using an innovative dynamic Thin-Ply Carbon Diaphragm developed with Composite Sound of Sweden. And they put my own planar headphones in the shade.
Image: Press
Unboxing and wearing the HEDDphone D1
The D1s come in a soft-shell carry case that’s not oversized, plus a pouch for the two-metre cable. Like many high-end cans, the cable connects to the headphones via dual 3.5 mm mini-jacks, and so balanced output would be possible with the correct cable and DAC/amp, if you’re so inclined. Impedance is 32 Ohms, meaning these will work happily with audio interfaces and laptop headphone outputs. You don’t need a fancy external headphone amp.
Strapped in, the D1s are supremely comfortable, even for a glasses wearer. There’s just the right enough clamping force to support a solid bass extension, plus a generous depth to the ear cups that helps to avoid over-heating while also enhancing immersion — something this particular set of headphones excels at. Long sessions are possible without discomfort, as the headphones almost seem to disappear.
Image: Press
What does the HEDDphone D1 sound like?
The sound signature has gloriously fizzy highs, verging on being too harsh at times but bringing out incredible detail in vocals and hi-hats in the same way as the AMT tweeter on HEDD’s monitor speakers. HEDD’s co-founder Freddy Knop himself likens this sound to the AMT tweeter in a Head-Fi forum post, citing a “good kind of obsession with detail and transients, precision, realism”. As time goes on, I grow increasingly impressed with the transient and colour detail of the highs on the D1. It’s a quality that creeps up on me and, swapping back to my planar daily-drivers —the (admittedly-cheaper) Hifiman Sundara open-backs— I’m shocked at how trashy and anaemic the treble presentation suddenly appears in comparison to the HEDDs. The D1s also take the lead in comparison to other dynamic-diaphragm models at lower monitoring levels, where the sound remains just as defined in the high end.
At the opposite end of the spectrum, there is plenty of bass extension too. Many open-backs are shy of bass out of the box —planars especially— so this helps kicks and sub-synth bass lines to really come alive. Additionally, this bass heft is extremely handy when performing playback translation checks in virtual rooms using software such as Realphones and Space Replicator as the frequency balance is more speaker-like. All great so far.
The mid-mids and low-mids are a little too bulky to my ears, leading to a slight nasal honk, and a low-mid build-up similar to the effect of placing studio monitors on a desk. Gentle cuts with a simple graphic EQ at 500 Hz and 128 Hz clear things up nicely. This is relatively trivial to achieve on my own audio interface that can host headphone EQ in its DSP, but might prove annoying to those who don’t have such luxuries. Post EQ, music is more enjoyable to listen to and mixes translate better as I don’t try to either scoop the low mids as much to reduce vocal proximity, or cut murky resonances around 500 Hz too severely.
Image: Press
Hitting the target with HEDDphone D1
High-mids are as revealing as the treble range, with ample articulation on kick beater clicks, under-snare mics and fuzzy electric guitars. To my taste, this ultimately appears brash and so I revert to my normal EQ preference — dialling in a Harman target curve. I tend to use a Harman curve for a standardised approach to monitoring, I enjoy the fuller bass and the smoothness of an evened-out mid and treble range. It helps with translation checks, too. I locate some Harman target settings for the D1 in an Audio Science Review forum post and, with a parametric EQ applied there’s a dramatic difference in tonal quality. Granted, results appear less exciting, but they’re far more suited to applications of mixing and mastering. I’m in my happy place.
And back to the subject of immersion. HEDDphone D1 has one of the best spatial representations of any headphone I’ve listened to, with an amazing sense of depth, and a surprisingly expansive stereo field. Opposite-panned, crunchy electric guitar layers spring to life and stretch into the far distance in one of my go-to reference tracks — Gethsemane by Richard Thompson. Meanwhile, minutiae in panning decisions are revealed in contrasting, synth-layered tracks. Once again, my Hifimans are outclassed by a clear margin, and to be frank, I’m left reeling.
Image: Press
HEDDphone D1 vs. the world
Mulling over competitors, the HEDDphone D1s outshine Neumann’s NDH30 for a more pleasurable listening experience, and are slightly more pleasing than Audeze’s MM-100 planar open-backs for tonal character and spatial presentation. Meanwhile, Hifiman has multiple planar products in a similar price range, often with steep discounts on outgoing models to give you even more for your money.
For producing, composing and enjoying music though, the HEDDphone D1 is difficult to beat and never gets uncomfortable. Throw in a little EQ help, and the D1 becomes a trustworthy mixing and mastering workhorse that’s articulate and revealing throughout the entire frequency range.
Image: Press
Key Features

Open-back headphones
Thin-ply Carbon Diaphragm (TPCD) dynamic drivers
Frequency Range: 5 Hz – 40 kHz
32 Ohms impedance
2-metre, removable unbalanced cable
Soft-shell carry case
Weight: 350 g

The post HEDD Audio’s HEDDphone D1 are near-perfect open-back headphones appeared first on MusicTech.

ChatGPT for beats? DrumBot AI launches a drum machine that listens and talks backThere’s a certain muscle memory baked into modern music production: open your DAW, pull up a drum machine, and start clicking squares on a grid. DrumBot AI, however, is here to shake that workflow up.
The company’s new browser-based drum pattern generator leans on artificial intelligence to do the heavy lifting – turning written prompts, reference audio, or simple back-and-forth instructions into fully formed, exportable drum parts in seconds.

READ MORE: Jamu: Your ChatGPT-style AI co-producer for Ableton Live is here – just tell it what to do

Instead of programming beats step by step, producers can describe what they want in plain English – “a heavy half-time groove with ghost notes on the snare” or “something jazzy and loose at 120 BPM” – and get a playable result almost instantly. It’s essentially ChatGPT for drums, but with an ear for feel.
Under the hood is a “proprietary AI engine” trained to understand groove, dynamics, and the rhythmic language of eight distinct musical styles: Rock, Jazz, Funk, Dubstep, Metal, Hip Hop, Rap, and Driving Rhythms.The tool is said to produce patterns with the “musical awareness of a live session drummer”: ghost notes land where a real player would put them, drum fills build tension naturally, and every genre gets the rhythmic treatment it deserves.
And it doesn’t stop at text prompts. In addition to the chat-style interface, users can drop in any audio file (say a demo, vocal idea, or reference track) and the AI will analyse its rhythmic feel before generating a complementary drum pattern – sidestepping the usual manual transcription or endless loop-pack scrolling.
Where things start to become more intriguing, though, is in how you refine those ideas. Once a pattern is generated, you can talk to the AI to shape it further: “Make the kick more syncopated”, “Open up the hi-hats in the chorus,” “Strip it way back” – and the system interprets those instructions in musical terms. It’s less like editing MIDI and more like directing a (very patient) session drummer, or a co-beatmaker that actually listens.
“I built DrumBot AI for the producer who hears the beat in their head but doesn’t want to spend an hour clicking it into a grid,” says founder Jeremy Jost.
Everything runs in the browser, with patterns instantly playable in studio-quality audio. When you’re done, you can export the result as a MIDI file – compatible with tools like EZdrummer and Steven Slate Drums – or bounce out a WAV file. No plugins, no downloads, and no setup.
DrumBot AI is available now with a free Explorer tier (75 credits per month), alongside paid Creator ($14.99/month) and Pro ($29.99/month) plans. Yearly billing is also available at a discount.
Learn more at Drumbot AI.
The post ChatGPT for beats? DrumBot AI launches a drum machine that listens and talks back appeared first on MusicTech.