OpenAI unveils Lockdown Mode to protect sensitive data from prompt injection attacksEven with Lockdown Mode, ChatGPT could be still vulnerable to prompt injections, but the goal is to reduce the likelihood that sensitive data gets shared in the process.

Pi Pico Puts Bluetooth Keyboards on the I2C BusIf you’ve ever worked with I2C, you know its one of those things that makes working with modern microcontrollers such a pleasure. With a few wires and not many more lines of code, you can communicate with all sorts of hardware such as sensors, displays, and input devices. There are even I2C keyboards out there, although they tend to be a bit pokey — and not in the good way as it pertains to keyboards.
But the bt2i2c project from [Roberto Alsina] promises to improve things. With his firmware flashed to a Pi Pico W, you can establish a connection with any standard Bluetooth keyboard and have the keystrokes sent over the wire via I2C. As far as your project is concerned, the input will appear to be coming from a BlackBerry BBQ20/BBQ10 keyboard using the address 0x1F, which means that there’s already plenty of code out there to work with. While [Roberto] explains its not strictly necessary, connecting a ST7789 display to the Pi Pico over SPI will give you some visual feedback on connection status.
As microcontrollers become increasingly powerful and capable of the sort of thing we would once have done on a “real” computer, a project like this has some fascinating potential. We’ve seen a number of “writerdeck” projects running on chips like the ESP32, and it’s not hard to see the appeal of being able to easily pair your favorite Bluetooth keyboard up to one of them.

Bitcoin most oversold since 2020 crash: Can BTC rebound to $70K next?Bitcoin’s latest oversold RSI mirrors 2020 and February 2026 setups that preceded 50% and 30% rebounds, putting $70K back in focus.

Umbral Audio AetherAether is an AI co-producer that lives on a track in your session. Instead of clicking every note into a piano roll, you tell it what you want, "a dark, driving minor-key bassline at 124 BPM," or "a warm lo-fi chord progression in F minor," and it plans the part, generates the MIDI, and hands you notes you can drag straight onto a track. Aether reasons about key, scale, voice leading, and rhythm, so the parts it writes sit in your track instead of fighting it. Don't like something? Ask for a change in the next message and it refines the MIDI it already wrote rather than starting over, so you iterate toward the idea in your head. Generate separable Bass, Harmony, and Lead parts on their own MIDI channels, solo or mute any of them, capture and reload earlier takes from the built-in MIDI Library, clean things up in the piano roll, and export multi-track MIDI with tempo and time signature intact. Everything Aether produces is standard, editable MIDI. Aether is bring-your-own-AI. Connect the model you already pay for with your own API key, or run a model locally and generate offline. You own the plugin outright for a one-time price, with no forced subscription. Key features: Text-to-MIDI: generate melodies, chord progressions, basslines, and full multi-track ideas from natural-language prompts. Conversational refinement: follow-up messages edit the MIDI it already wrote. Music-theory-aware phrasing (key, scale, voice leading, rhythm). Separable Bass, Harmony, and Lead parts with per-part solo, mute, and MIDI channels. Drag-to-DAW MIDI and multi-track .mid export with tempo and time signature. MIDI Library with idea and version history. Built-in piano roll, post-processing, MIDI capture, and reusable custom prompts. Supported AI providers Claude (Anthropic), ChatGPT (OpenAI), Gemini (Google), Grok (xAI), DeepSeek, OpenRouter, and Hugging Face via your own API key, or local models through Ollama and LM Studio. Formats and system requirements: Formats: VST3, Audio Unit (AU), and Standalone. OS: macOS and Windows. Runs in Ableton Live, FL Studio, Logic Pro, Cubase, Studio One, Bitwig, Reaper, and other AU/VST3 hosts, or standalone with no DAW. Requires an AI provider API key, or a local model via Ollama / LM Studio; internet connection required for cloud providers. Pricing and licensing One-time purchase of $60. Includes free lifetime updates across Aether 1.x and activation on up to three machines. No subscription required when you use your own API keys. Read More

Spitfire Audio bring Originals to Akai MPC Following on from their partnership announcement at NAMM 2026, Spitfire Audio and Akai Pro have announced the release of two new sample libraries that can be run entirely on MPC hardware. 

Xilentch releases FREE Xhannel S channel strip plugin
Xilentch has released Xhannel S, a free channel strip plugin and the first dedicated mixing tool in the XM family. Until now, the XM Series has mostly focused on mastering tools. The first Xilentch plugin I tried was XMLimiter last year, and it quickly became one of my go-to limiters for use across mixes and [...]
View post: Xilentch releases FREE Xhannel S channel strip plugin

GearExpo UK: Monitor Update We’ll have monitors of all shapes and sizes at GearExpo UK, so whether you’re looking to upgrade or expand your setup, or searching for your first set of speakers, there’s plenty to check out and take a listen to. 

Hell Yes Loop Lab releases FREE HYLL Pressure soft clipper plugin
Hell Yes Loop Lab has released HYLL Pressure, a free/pay-what-you-want soft clipper plugin for macOS and Windows. Does the world really need another soft clipper? Probably not. Definitely not, even. Do I need this soft clipper? I don’t. But that doesn’t mean it isn’t worth a look because, the way I see it, with plugins, [...]
View post: Hell Yes Loop Lab releases FREE HYLL Pressure soft clipper plugin

Sheila Landis & Rick Matle at Ro Cham Beau Detroit, MIWeb: sheilalandis.com Contact: shelandis@gmail.com Players: Sheila Landis, vocals, percussion, kazoo; Rick Matle, 7-string guitar; John Hill, drums

One of Detroit's newest live jazz music rooms is the sleek and acoustically perfect Ro Cham Beau. The veteran duo of Sheila Landis and Rick Matle recently made their maiden voyage there, one for the books. They were joined by trusty sideman John Hill who embraced their swinging groove like a hand in glove. 

The evening’s theme was a journey through the decades, taking pages from the Great American Songbook through standard blues and pop. But you quickly realize that nothing by this ensemble is by rote. Each song is meticulously crafted where the ensemble stays faithful to the music’s essence while taking liberties at the same time. 

First popularized by Eddie Cantor during the heyday of vaudeville, Landis immediately captivates the crowd with the perennial “Makin’ Whoopee.” From the outset, she engaged the audience in joining her on the chorus as she dramatically “talk-sang” the lightly provocative and coquettish lyrics. Matle’s seamless blend of melody and walking bass establishes a comfortable rapport with Hill’s delicate drumming. “It Don’t Mean a Thing (If It Ain’t Got That Swing)” was a popular quote and classic from Duke Ellington. It came to life here via Landis’ outrageous kazoo soloing, bongo playing and Hill’s cue to step out. Landis kept a friendly rapport going with the crowd and dedicated the standard “Fly Me to the Moon” to the Artemis II astronauts. With a breathy Billie Holiday quality to her voice the lead chanteuse soared wistfully over a silky Latin rhythm. “The Lady is a Tramp” was appropriately swinging and edgy which transitioned to the sweet and seductive “Besame Mucho.” Hill and Landis provided dense percussion as Matle subtly blended looping chords and deftly placed lead lines. The first set concluded with the perennial upbeat “When You’re Smiling.” Landis’ spirited kazoo honks and Hill’s call and response drumming were a highlight.

Set two began with the Bacharach/David classic “I’ll Never Fall in Love Again.” It featured Landis on shakers as she supported a smooth samba-like vibe. Matle took some nice solos here as well. Another instrumental piece was the moody and noir-ish “Harlem Nocturne.”

A devotee of the late great jazz vocalist Betty Carter, Landis evokes that same spirit and charm into everything she does. And you could even include elements of Sarah Vaughan and Nina Simone into her vocal oeuvre as well. Her style blends the sublime with the slightly dramatic and absurd for a performance that is inviting, yet one of a kind. She fuses humor and reflection at the drop of a hat, with all the skill of a Broadway diva. Matle stands alone as one of the best 7-string guitarists on the scene. His ability to blend melody, chords and bass lines simultaneously is a joy to be had. And his encyclopedic trick bag of Wes Montgomery, Jim Hall, Barney Kessel, and Jimi Hendrix-type styles just adds to the versatile nature of their music. John Hill is equally comfortable laying down a solid pocket or adding subtle brush work. 

Whether they are doing classic cover material or a bevy of their well-crafted original songs, Landis and Matle always deliver and leave you wanting more. 

The post Sheila Landis & Rick Matle at Ro Cham Beau Detroit, MI first appeared on Music Connection Magazine.

Founders share VC horror stories, and some are naming namesA massive viral conversation sharing VC horror stories has taken place this week on X. Some are weird. Some are infuriating.

Travala lets AI agents book hotels with USDC on BaseTravala’s new protocol lets AI agents search and book hotels with USDC on Base, but travelers still approve the final payment.

Isaia Huron Signs With RCA Records/SlangDate Signed: December 2025Label: RCA Records/SlangType of Music: R&BManagement: Jaha Johnson, November YellowBooking: The Team (formerly Wasserman)Publicity: Amanda Zimmerman – RCA RecordsWeb: isaiahuron.com

The ink is barely dry on the contract, but Isaia Huron is already onto the next thing. In an industry that loves a long-winded origin story, the Greenville, SC native is refreshingly, almost surgically, brief. When asked when his musical journey actually got serious, he doesn’t cite a childhood dream or a viral moment. “It got serious around yesterday or so,” he quips.

That “yesterday” has actually been years in the making. From a childhood steeped in gospel—raised by a pastor and a choir leader—to teaching himself Ableton on a cruise ship in 2018, Huron has been quietly building a sonic architecture that defies easy categorization. It’s a blend of R&B, alternative soul, and indie textures that feels both intimate and expansive.

Now, Huron has officially leveled up, announcing his signing to RCA Records in conjunction with Slang. The partnership arrives alongside his latest single, “W.T.A.” (Way Too Attached), a self-produced, slow-burn track that serves as the first transmission from his upcoming era: Mr. Lovebomb.

While his debut album, CONCUBANIA, was a three-act play exploring the wreckage of heartbreak, Mr. Lovebomb promises to dive into the “messiness” of life. Despite the high-stakes backing of a major label, Huron’s process remains decidedly lo-fi and intensely personal. While most artists head to high-end studios in L.A. or London the moment they get a budget, Huron stayed close to home. “I recorded and produced those songs and the entire album right after we shot the visuals for CONCUBANIA, right outside on my parent’s back deck by myself. And yes, it’s conceptual, the album,” he says.

Following a breakout COLORS performance that continues to rack up views, he has found that the most rewarding part of the grind isn’t the contract, but the reception. “Watching people like it. Very strange, but wholesome feeling,” he says.

As for what the rest of 2026 holds under the RCA/Slang banner? His goals are as minimalist as his production: “Doing music” and “Tour.” For the aspiring musicians looking for a roadmap to follow in his footsteps, Huron offers no clichés or “10 steps to success” manifestos. “Not really, no,” he says when asked if he has any advice.The post Isaia Huron Signs With RCA Records/Slang first appeared on Music Connection Magazine.

As It Turns Out, There’s More Than One Cassette Mechanism Being Made After AllIt’s become an accepted truth amongst tapeheads that there’s no point looking at new hardware, because there’s only one tape mechanism being made anywhere in the world anymore, and that it sucks. [VWestlife] may enjoy German automobiles, based on the name, but he’s also a tapehead– and he took the time to demonstrate on YouTube that the accepted truth just ain’t so.
The supposed One Mechanism to Rule Them All in Lo-Fi is designed or made by Chinese company Tanishin. Certainly Tanishin does make a tape mechanism, but as [VWestlife] demonstrates with a few teardowns, there’s absolutely more than one on the market. That doesn’t mean any of the new offerings will out-compete your vintage Sony Walkman, but it does mean there are differences worth considering if you were to buy new.
Note that it is handhelds like the Walkman being talked about– it must be, since there are both slot-loading and flip-loading decks still being made, and even if you’re not a tapehead you should be able to tell that those won’t share the same part on the BOM.
With a few teardowns, he finds three separate mechanisms, followed by a deep-dive into the Tanishin. If you’re looking to buy a new walkman– or perhaps use its guts to build a mass storage device-– you might want to watch the whole thing to help you pick. On the other hand, the mechanism doesn’t matter that much, as he points out. It brings the tape over the head, but that’s not difficult. Everything else– from the motor that needs to draw the tape out evenly, to the pickup and the preamps and amplifiers–is where noise and poor quality sound tends to creep in, especially when something’s built to a budget.
Overall, [VWestlife] takes pains to point out that these ‘crappy’ new players aren’t any worse than the original Sony Walkman– we’ve just been spoiled by decades of better media than the humble compact cassette. That’s no slight against the cassette– people are still pushing its limits to this day, like this insanely fast vacuum-driven mechanism we featured.
Thanks to [Stephen Walters] for the tip!

Hell Yes Loop Lab HYLL PressureHYLL Pressure is a free / pay-what-you-want soft clipper and peak-shaping audio plugin by Hell Yes Loop Lab. It is designed for producers, beatmakers, musicians and sound designers who want a simple way to shape peaks, add density, saturation and controlled loudness without turning the process into a complex technical mixing session. HYLL Pressure can move from clean peak control to more obvious saturation and pressure, making it useful on drums, synths, bass, loops, mix bus material and creative sound design. The plugin includes a parallel blend control, allowing you to push the processed signal hard and then mix it back with the original sound. This makes it easier to add pressure, density and character while keeping some of the natural dynamics and clarity of the source. Features: - Soft clipping and peak shaping - Density and saturation control - Parallel blend between dry and processed signal - Simple, direct interface - Useful on drums, bass, synths, loops and mix bus material - Designed for music production, beatmaking, mixing and creative sound design - Free / pay-what-you-want. Formats: - macOS: AU - Windows: VST3. HYLL Pressure is available from the official Hell Yes Loop Lab website. Read More

Soundgas Sounds: Latest prize draw announced Soundgas have announced the launch of their latest prize draw, giving entrants the opportunity to purchase a sample pack and be in with a chance of winning a pair of preamp pedals.