Behringer D Mini is available for pre-order in the EU: Minimoog Model D-inspired performance for €99
You can now pre-order the Behringer D Mini in the EU for €99, offering you a Minimoog Model D-inspired performance. If you know anything about Behringer in recent years, you’ll know that I’ve made rather casual use of the word inspired in the header. When I say inspired, I mean cloned to within an inch [...]
View post: Behringer D Mini is available for pre-order in the EU: Minimoog Model D-inspired performance for €99

This limited-time Royer Labs ribbon mic bundle could be the perfect setup for recording your acoustic guitarRibbon mic specialist Royer Labs has announced a limited-time deal on its R-12 Active Ribbon Microphone, in which you can get the mic, plus Royer’s patented RSM-SS24 Sling-Shock mount for just $999, saving you $300 if you were to buy them both separately.
Launched in December, the Royer R-12 pairs classic ribbon warmth with active output, making it a perfect microphone for capturing steel-string acoustic guitar. As Royer explains, the mic is designed to capture the “woodiness” and natural midrange of the guitar, without adding to the brittle top-end often associated with brighter microphones.
Meanwhile, the R-12’s active circuitry means improved clarity, transient response and output – perfect for modern recording setups.

READ MORE: Fender Studio Pro 8.1: Moises Studio integration, a new AI Assistant and everything else you need to know

Royer’s flagship R-121 is one of the most touted ribbon microphones on the market, and the R-12 features the same 2.5-micron ribbon. Meanwhile, the mic also sports a switchable -15dB pad and a switchable high-pass filter for proximity control.
It also features an internally shock-mounted ribbon transducer and a built-in triple-layer windscreen for the reduction of unwanted handling and wind-related noise.
Credit: Royer Labs
The RSM-SS24 Sling-Shock mount makes this bundle perfect for acoustic recording, as it provides an added layer of isolation, helping to reduce stand and floor noise during recording.
The RSM-SS24 utilises a non-resonant nylon cord and damped tensioning springs instead of elastic bands, offering users a stable, reliable mounting system for pristine recordings.
“Acoustic guitar is one of those sources where players know immediately whether a mic is helping or getting in the way,” says Dave Hetrick, President and Chief Revenue Officer at Royer Labs.
“The R-12 gives players the warmth and natural response people expect from a Royer ribbon, but with the output, clarity and control that make it easy to use in real-world recording sessions. Pairing it with the RSM-SS24 gives customers a complete setup at a strong price.
Of course, the R-12 is great for recording acoustic guitar, but can also be used with a range of instruments, including piano, organ, drum overheads, strings, room miking and more.
The R-12 Bundle is available now via authorised Royer Labs dealers. Learn more at Royer Labs.

The post This limited-time Royer Labs ribbon mic bundle could be the perfect setup for recording your acoustic guitar appeared first on MusicTech.

Fender Studio Pro 8.1: Moises Studio integration, a new AI Assistant and everything else you need to know
Following the introduction of Fender Studio Pro earlier this year – when it replaced PreSonus Studio One – Fender has introduced a sprawling new update for its flagship DAW, bringing workflow improvements, Moises Studio integration, new plugins and loads more.
There’s also an all-new in-DAW Studio Assistant, which is on hand to answer any questions producers have as they arise, and offer technical direction to support their projects. Additionally, 8.1 introduces a new Vocal Tune plugin for native pitch correction right within Studio Pro.

READ MORE: Imagine Plugins is changing who gets to make plugins

The new Moises Studio integration – dubbed the “first of its kind” – means creators can now use Moises’ AI-powered tools, including stem separation and tools for idea generation, without leaving their DAW.

“Anything that keeps me in-DAW versus breaking focus for a web browser, like the new Moises integration, is a welcome addition,” says artist, producer and songwriter Josh Cumbee. “8.1 gives me more tools and a wider ecosystem that supports my workflow, making it as fast and customised as I would ever want it to be.”
On the new Studio Assistant, Max Gutnik, Chief Product Officer of Fender Electronics, explains: “At Fender, we view AI the same way we view any innovation. Its value isn’t in the technology itself, but in how it helps musicians create, learn and express themselves.
“Studio Assistant provides guidance right when players need it, helping remove friction and keep the creative process moving. Our integration with Moises gives musicians powerful new ways to learn songs, practice, experiment and create.
“AI isn’t the destination. Making music is. When technology gets out of the way and helps musicians accomplish more, it’s serving the art. That’s what we aspire to do.”

Elsewhere, Studio Pro 8.1 brings scoring improvements, pitch curves on audio events – which allow producers to draw real-time pitch changes directly onto audio clips – upgrades to native stem separation, improvements in the DAW’s ability to turn audio into MIDI , plus Dolby Atmos headphone personalisation.
Fender Studio Pro 8.1 is available now for all Fender Studio Pro users, including anyone with a Fender Studio Pro+ subscription, a perpetual license or an upgrade purchase within the last 12 months.
Pricing for Fender Studio Pro is as follows:

Perpetual license – $199.99 / £169.99 / €199.99
Pro+ Annual Subscription Plus Perpetual – $179.99 / £159.99 / €179.99
Perpetual license upgrade – $99.99 / £89.99 / €99.99
Monthly subscription – $19.99 / £19.99 / €19.99

Learn more at Fender.
The post Fender Studio Pro 8.1: Moises Studio integration, a new AI Assistant and everything else you need to know appeared first on MusicTech.

Jonas Eriksson releases Annulus, a FREE polyphonic resonator and effects engine
Developer Jonas Eriksson has released Annulus, a free polyphonic resonator and effects engine for macOS and Windows. You should note that, while Annulus is available for free download, it has not yet undergone a public beta or formal testing phase. The plugin is functional, but may contain bugs, and the developer welcomes reports and feedback [...]
View post: Jonas Eriksson releases Annulus, a FREE polyphonic resonator and effects engine

“Now I’m just a human without any superpowers”: Thomas Bangalter on life after Daft PunkThomas Bangalter has opened up on life after Daft Punk and their decision to call it quits.
The electronic duo disbanded in 2021 in order to explore other avenues within music, and according to Bangalter, they’re happy they laid it to rest when they did. Looking back on their success, he’s happy they had such a fruitful career without “screwing it up” across their 28 year run.

READ MORE: Watch Fred again.. perform with Thomas Bangalter during final night of Alexandra Palace residency

Speaking of his creative partnership with lifelong friend and fellow former robot Guy-Manuel de Homem-Christo, he shares with The Times, “It was almost performance art where you create these characters and blur the line between fiction and reality.”
Asked if it felt like fame was happening to the robots more than them as people, he responds:  “I think so, yes. The history of music is made of fruitful partnerships and they usually last way shorter than the 28-year run that we had. It was great but staying in character and not spoiling it became very difficult.”
Bangalter goes on to compare the end of Daft Punk to the finale of The Wizard of Oz, when the wizard is unmasked as a fraud, and reiterates that there will be no reunion: “I was one of the robots, but now I’m just a human without any superpowers… I’m really happy that throughout our long run we were able to not screw it up. There are other things to explore.”
Bangalter played a pair of DJ sets without the robot helmet in 2025 and again in 2026, both alongside with Fred Again at shows in Paris and London. Homem-Christo is rumoured to be working on a solo album, and Bangalter has also been developing scores for ballets, with his most recent being Mirage — Ballet for 16 Dancers, a follow on from his 2022 project, Mythologies.
While the pair might not be actively participating in any Daft Punk work, a new video for Human After All, the title track from their third album, was released earlier this year. The video features clips from the duo’s sci-fi film Electroma, edited by their creative director Cédric Hervet.

 
The post “Now I’m just a human without any superpowers”: Thomas Bangalter on life after Daft Punk appeared first on MusicTech.

Imagine Plugins is changing who gets to make pluginsHow much would you pay to have your own signature plugin? One that you’ve built yourself, loads flawlessly in a DAW, and has the look and quality of any other plugin in your library. Traditional plugin development would price that in the ballpark of tens of thousands of dollars – but what if you could pay just $1,000 instead?
That’s the pitch from Imagine Plugins, which launched in May 2026. With drag-and-drop DSP modules and a suite of designs for every dial and fader, this new offshoot of the online music service marketplace, Sound Better, has created a browser-based platform for building plugins without the need to hire a developer, and without asking an AI to build something for you.

READ MORE: How we remixed Taylor Swift: Tips and tricks from Chris Lake and Ely Oaks

It’s a model that follows the revolution of website builders, where complex code is neatly wrapped up in a smooth GUI and hidden behind the scenes. In fact, users don’t need to know a single thing about digital signal processing to create a functioning plugin.
“We realised we could do for plugins what Squarespace did for web development”, explains Shachar Gilad, one of the founders behind Imagine Plugins. “Creating plugins is quite an involved process. It’s a huge rabbit hole and ends up taking a couple years before you can make anything good. For those who are interested in that, I think it’s fascinating — but many people aren’t. They just want to have a plugin.”
Outside of learning to code C++ or using the plugin development platform, Juce, building a plugin typically requires specialist knowledge. Unlike building a website, audio software involves far greater complexities — for a start you’re working with real-time audio processing, routing pathways that can reach byzantine status, all with the added need to optimise CPU.
Leap-frogging over these obstacles might appeal to many people, especially now as visual-coding languages have become incredibly popular in game development, film and visual effects software, ushering in a whole new group of artists who find the simplified environment far more approachable. The question is whether it is possible to abstract away the complexity of plugin development without sacrificing quality. Drawing upon his background at big audio companies including the likes of Apple and Waves Audio, Gilad believes he might be able to find the answer.
Imagine Plugins free demo product, Vocal Effect. Image: Imagine Plugins
“If you’re an individual or small company wanting to start making plugins, you really have two options”, explains Gilad. “One is to learn digital signal processing, which is the secret sauce of sound manipulation with code; the other path is hiring someone who has that expertise to translate your vision.”
Having had a front row seat during the process of making his own plugins at SoundBetter, such as Butterfly Effect and Halo Effect, Gilad knows just how difficult it can be to bring an idea to the plugin market. “It’s expensive, it’s time consuming, and the process is not that pleasant, especially for a lot of creators in our industry that are very hands on, DIY, and relatively technical. For them to relinquish control and let someone else translate their vision is not a great experience.”
Expensive is  a relative term given that Imagine Plugins’ starting price is still $1,000 per plugin for creators earning under $150k a year, and $5,000 per plugin for professionals earning between $150k-$300k a year. It’s not cheap. But compared to the alternatives, it arguably strikes a fair balance between hiring a developer, and the potential that a creator could sell their plugin in perpetuity.
However, this price point is still a big ask for bedroom producers and many working artists. So, who is Imagine Plugins really aimed at?
“There are a couple different use cases here, but one is folks with a platform”, says Gilad. “They have a large following, they’re educators on music production, they have a large YouTube following, and they want to be able to give something to their users — whether it’s a giveaway, or to share their knowledge, or to commercialise their audience. For them to try to create a plugin is a natural thing for them to do, either to sell, or give to their audience.”
What would have taken weeks and months before hearing the first instance of a plugin now takes less than 60 seconds to compile and run inside Imagine Plugins. It’s impressive considering that it all runs in a web browser, too. Given how much time and money you are saving, the price might be worth it for people seriously considering creating a one-off plugin.
Imagine Plugins signal flow. Image: Press
As with most creative endeavours, the build process starts with a blank canvas where users can select different DSP components from a list and place them on the page. Reverb, delay, EQ, distortion, and more, are the building blocks that will get you started on an effects chain, with room to add deeper interest with effects such as a reverse and granulator.
The trick to creating something unique, and not imagining the same plugin as every other user of the platform, all lies in the routing methods. To that end, the utility components offer Band Split, Mid/Side Split, Mix, Merge, and Polarity Flip, to name a handful. There are modulation components aplenty, too. With each component containing even more parameters that can be tinkered with, mixing, matching, and routing these blocks together can produce huge variation in designs.
“Between several dozen blocks with multiple parameters for each block, you can essentially create infinite combinations,” says Gilad. “We don’t want people to just throw their effects in and then put their name on it, we want people to route them and chain them in creative and interesting ways.”
Of course, a plugin is only as good as the quality of its DSP modules. Most DSP components have been made in-house at Imagine Plugins, or else licensed. “We don’t want to give the exact names of the things that we’re modelling, but I think most engineers can gather what these are”, says Gilad. “Some of them we licensed from who I believe are some of the best DSP engineers in our industry, including analogue models of classic compressors and EQs that you know mixing engineers often reach for”.
While building a plugin, you’re able to audition its sound as you go. Crucially, a plugin can also be downloaded and fired up straight away in your DAW as a VST, AAX or AU plugin for testing before buying.
With lower financial overheads and no need for specialist knowledge, Gilad believes what remains are the creative parts of plugin manufacturing. “I think that the world in general is going to a place where your imagination is the limit.”
If no-code platforms such as this take off, we could see a future where releasing a plugin is just as viable as releasing a sample pack. On the other hand, amongst an already saturated plugin market, do users want to spend $1,000 to throw their hat in the ring? Imagine Plugins isn’t warping the industry just yet — there’s currently very little buzz surrounding the company, and online forum users remain sceptical about the upfront cost. But once some creators and companies catch on, you may soon be downloading an Imagine Plugins compressor or reverb without realising.
The post Imagine Plugins is changing who gets to make plugins appeared first on MusicTech.

Truth and history versus modern reality. I believe books are even more essential nowadays

Following Anthropic, OpenAI files confidentially for IPOThe filing comes a little more than a week after its main rival, Anthropic, also filed to go public, ramping up the race between the two AI firms.

DECAP on 8 hits built on Drums That Knock, his approach to sample design, and his new label
From Bad Bunny to Charli XCX, DECAP discusses eight of the countless tracks that the music producer community has identified his drum samples on.

Active tokenized RWAs surge almost 600% despite crypto pullback: BinanceTokenized stocks, gold and real estate are driving broader adoption as banks and institutions embrace blockchain-based assets despite a weaker crypto market.

In the Studio with Charles FaunaArtist: Charles FaunaProducer and Arranger: Charles FaunaCo-Production and Additional Instrumentation: Jaguar SunAdditional Bass Production:  Ronnie LanzilottaMixing Engineer: Andy D. ParkMastering Engineer: Ariel Loh

The Origin: Absorbing a world where sound, vision, and feeling overlap, Charles Fauna — the moniker of the LA/NY-based producer and multi-instrumentalist Charlie Mischer—has developed a synesthetic field where emotion, atmosphere, and imagery continuously feed into one another, crystallizing into song. Within this cross-wired framework, auditory signals, visual cues, and sonic impressions lie buried deep in the subconscious. Fauna likens his creative process to excavation: a patient unearthing of these hidden melodies.Through this sensory lens, his musical evolution unfolded in clear phases — bridging early bedroom production with the exploratory work of his first musical project, Paideia, before arriving at the fully realized identity of Charles Fauna.As Fauna, that multi-sensory perception became his compositional spine. He approached each release as a series of self-contained sonic and thematic worlds. From the grief-torn symbolism of Eulogy and the isolated sci-fi transcendence of Yonder, to the rebuilding impulse of Renewal and the synth-soaked neo-purgatory of L I M B O, Fauna’s catalog evolved into distinct themes.Yet even the most expansive musical lifecycles eventually reach a tipping point. For Fauna, “Moon Dog,” the first single from his forthcoming full-length album, signals that inflection point. Driven most notably by profound personal experiences, the track reflects a subtle shift in the way he composes music.

The Production: “Moon Dog” entered his mind in the way Fauna says much of his strongest work does — as if it had already been forming just out of reach, arriving fully intact when it was ready to be heard. Sitting in a Nashville airport terminal, a sudden creative spark emerged from the surrounding ambient noise.“The ‘ooo’ melody for the chorus was the first thing I wrote,” Fauna recalls. To the listener, it plays like a vocalized ache, echoing forever. In hindsight, he connects that moment to the broader gravity surrounding the song: his father’s declining health and later loss. “That image of yearning, howling, desperately reaching out into the universe only to be met with silence, felt so devastating and powerful. It felt true.”That fragmented scribble in the airport foreshadowed a distinct heaviness. As his father’s health later declined, the idea Fauna had already drawn from his subconscious became the outlet. This spurred a creative push, fusing that  melancholic feeling with a specific key and color profile.“I always think in visual terms when I’m writing,” he explains. “I have synesthesia, so different musical keys have very strong color associations for me.” For Fauna, B minor is a key associated with a deep, nocturnal blue. Guided by this vivid sensory palette, the track settled into a vision of wide-open fields bathed in the stillness of the night. This imagery aligned with broader themes of expansiveness and freedom across the forthcoming album— a feeling he describes as “running without resistance.” 

Beyond the visual mechanics of his synesthesia, this concept of boundlessness translates directly into tangible production choices. Upending his usual digital routine, Fauna swapped programmed electronic patterns for live drums to give the rhythmic foundation a more physical, human feel. Leaning into this live instrumentation was a deliberate return to his musical background.“The drums are actually my first instrument, and the only one for which I received any kind of formal training,” he notes. That foundational background shaped how he balanced the rhythm section for “Moon Dog,” ensuring the low-end retained a deep, driving beat while maintaining high-end clarity. Ultimately, Fauna engineered this balance to evoke a specific physical environment: “a song meant for the car, for long meditative drives…”Texturally, this live rhythmic spirit allowed Fauna to layer contrasting musical elements and build a vivid, sensory ecosystem. He explicitly wanted the track to feel kaleidoscopic, juxtaposing a prickly acoustic guitar — which he notes “felt like rain drops down your neck” — against vast, open space.To achieve this fluid spaciousness without relying on electronic patches, Fauna studied intricate fingerpicking styles. “I was really inspired by classical guitar playing — how notes create these cascading waterfalls that seem to bounce downward — like a marble falling down a staircase," he explains. "Gravity dictates a unique rhythm. In this case, I wanted to fill this song with [similar] acoustic guitar textures. That ended up being a sonic throughline for the entire album.”

Translating that physical performance, however, presented a challenge. “It is a dance between creating that lush, transportive ambience while resisting the impulse to fill every empty moment with a sound,” Fauna says. “It’s very easy to start filling up the negative space in a track to the point where it becomes overwhelming to listen to.” Ultimately, the track rejects rigid, pre-constructed digital environments in favor of something more lived-in. This transition toward more tactile textures mirrors a personal evolution. “I wanted the production to reflect a version of me that was a little more mature, more assured, and more relaxed. Where before I might have produced an EDM drum beat and used synth bass, this time I knew it had to all be live. I wanted more of a band feeling with this album.”As one of the first songs to fully realize this new approach, “Moon Dog” signals a broader recalibration in his creative process.  Whether it marks the closing of a chapter or the beginning of something new remains unresolved, but whatever is on the horizon, Fauna is listening through his familiar synesthetic language while remaining open to how it might evolve.“It’s a perfect snapshot of me in my 30s,” Fauna reflects on the song. “Still doing this whole artist thing solely out of passion and personal fulfillment rather than some need to be seen. I’ll always love it for that reason.”

Photo Courtesy of Big Picture MediaThe post In the Studio with Charles Fauna first appeared on Music Connection Magazine.

Kreuzberg Audio RUMBLE FORGERumble & Sub-Bass Generator für Techno Kick in, rumble out. The rumble is the foundation Listen to a techno track without rumble. There's a kick, a couple of hats, and nothing happens. That deep, sustained, vibrating thunder underneath the kick is what gets the floor moving. It's not an effect on top, it's the foundation the whole track stands on. The thing is, building one by hand is a grind. Layer a sub, tune it to the kick, draw reverse-reverb tails, saturate, sidechain, mono the bass, time it all together. An hour later you've got a rumble that sounds okay, and on the next track with a different kick you start from zero again. RUMBLE FORGE does it in one click. Drop it on your kick channel, pick a preset, and the plugin listens to your kick, transient and pitch, and builds a rumble that automatically fits that exact kick. Harmonic, because it's tuned to the fundamental of your kick. Solid, because it grows out of the kick body instead of sitting next to it. And fat, because there are nine parallel DSP pipelines behind it. How it works RUMBLE FORGE is not a sub-synth you retune to the kick by hand every time, and not a saturator that smears across everything. The plugin sends your input down two paths: one is the clean kick, the other goes into two analysis modules. The KickDetector spots every hit via the amplitude envelope. It only reads the low-end energy, so it's robust against hats and percussive bleed. The PitchDetector tracks the fundamental of the kick in parallel using a YIN algorithm, typically 40 to 80 Hz. Both run fully automatically, you don't set anything. And that's the trick behind the harmonic sound: because the rumble is tuned to the tracked kick pitch, it always sits cleanly under your kick instead of beating against it. A preset works on any kick as a result, no retuning needed. The 9 rumble pipelines Nine parallel pipelines each generate a different flavor of rumble. Important: this is not a multi-effect. All nine chase the same idea, a coherent kick tail in the sub and bass range, they only differ in how they create it. You mix them freely, from subtle sub-octave thickening with two pipelines to a full wall with all nine. Each pipeline has its own output lowpass that cuts it off up top, so the rumble stays in the basement and doesn't muddy the mids. P01 SOG, Reverse Reverb: the reverb builds up before the hit and resolves into the transient. The classic whoosh run-up for roll sounds and build-ups. P02 PULS, Delay Rumble: tempo-synced delay with dirty feedback. Gritty, percussive, Birmingham industrial school. P03 FUNDAMENT, Sub Synth: wavetable sub, tuned to the kick and mixed into the body. Makes thin kicks fat and breathes with them. P04 ROAST, Saturated Feedback: saturated tail with four characters, from soft tape saturation to wavefolder. For industrial walls with bite. P05 GRAIN, Granular Texture: granular cloud from the kick tail. Smeared sub textures and drones. P06 PHASE, Phase Rumble: five phase modes, including Reese with detuned comb filters. Wide, hypnotic sub movement. P07 FREQ, FM Rumble: FM synthesis with sidebands. Thickens the tail harmonically, from sub to metallic. P08 PULL, Reverse-Swell Sub: tempo-locked sub swell that sucks in before every beat. Continuous build-up breathing under the kick. P09 SHIFT, Frequency Shifter: SSB shift that moves the overtones inharmonically. Slow alien drift on the tail. Breathing between kick and rumble A built-in rhythmic sidechain ducks the rumble bus relative to the kick or the tempo grid. That's the signature pump that gives kick and rumble room to breathe. Trigger classically off the kick, or lock to the grid with 1/4, 1/8, 1/16 including triplets, swing and a phase offset for off-beat pulses. Four release curves from exponential to S-curve. Club-ready at the output The master section makes your rumble PA-ready. Bass Mono folds everything below 120 Hz to mono, mandatory for vinyl and a club system. On top of that, Sub Cut against inaudible subsonics, Dry/Wet to blend it under the kick and a solo mode for auditioning. If you don't have your own bus processor running, for example in a standalone live setup, dial in the channel strip too: glue compressor, saturation, tilt EQ, stereo width and a final limiter at minus 0.3 dB. 51 factory presets Curated by genre and pipeline focus, every one track-ready right away: Rolling: classic techno rolling rumble. Pumping: sidechain-driven breathing. Delay: PULS-focused echo rumbles. Industrial: hard walls. Sub-heavy: FUNDAMENT-focused sub thickening. Granular: smeared textures and drones. FM: FREQ-focused inharmonics. PULL: sub-swell templates. SHIFT: drift textures. Composite: combined multi-pipeline sounds. You can save unlimited user presets. A/B compare with two parameter slots is built in. Technical highlights 9 parallel DSP pipelines, freely mixable, each with its own output lowpass. Fully automatic kick detection and pitch tracking, no tuning needed. Rhythmic sidechain with kick or grid trigger, swing and four curves. Master section with Bass Mono, Sub Cut and a solo mode. Mastering channel strip with Comp, Sat, Tilt, Width and limiter. 51 factory presets plus unlimited user presets. MIDI Learn on every knob, stored per instance with the project. RT-safe and light on CPU, around 3 to 8 percent on an M1 at 48 kHz. Formats and systems. Formats: VST3, AU (macOS), Standalone Systems: macOS 10.13+ (Universal Binary, Intel and Apple Silicon), Windows 10+, Linux from Ubuntu 22.04. License and demo The demo runs with the full feature set, nothing is locked. Every 30 seconds a quiet noise burst mixes in for a few seconds, and it disappears for good the moment you enter your serial number. Activation is fully offline, no online phone-home. Read More

News Sites are Blocking Internet Archive over AI Scraping FearsEspecially in this era of the Internet, the role of the Internet Archive’s Wayback Machine has become increasingly essential as more and more web content vanishes into the ether or is surreptitiously altered to hide salient details. More recently a new worry has seemingly cropped up in the form of scraping of data for so-called AI systems, or at least that’s part of the excuses being offered for blocking the Wayback Machine’s web crawlers, with [Andrew Deck] and [Hanaa’ Tameez] of [Nieman Lab] detailing the impact and reasons provided.
Some news outlets like The Baltimore Banner insist that they’re only blocking the Wayback Machine crawlers because they are worried that LLM chatbots would otherwise ‘improperly cite’ the source of content, while outlets like The Atlantic have put a blanket anti-scraping policy in place. Meanwhile news outlets are generally happy to let paid commercial news archiving outlets like ProQuest and LexisNexis index their content, showing a potential financial incentive.
Whatever the reasons, the direct effect is that as content is modified or vanishes during for example a system migration, buy-out or bankruptcy, researchers who rely on the Wayback Machine are pretty much forced to rely on paid offerings by ProQuest and kin, without the pure archiving focus and free access to information. It will also leave big holes in what the Wayback Machine can cover in its archives, with news especially becoming very spotty.
Incidentally there’s an ongoing petition over at SaveTheArchive.com which people can sign.

Universal Music Greater China acquires Carrier Creative catalog, home to ‘golden-era’ Mandopop recordings by Little Tigers and Johnny ChiangThe deal was announced on Monday (June 8) at UMGC's inaugural China Summit in Beijing.
Source

Audeze announce the MM-520 The new MM-520 build on the award-winning MM-500, with the introduction of the company’s SLAM (Symmetric Linear Acoustic Modulator) technology promising to arm the new arrival with unprecedented bass accuracy and spatial detail.