Handheld PC Build Is Pleasantly ChunkyThe cool thing about building your own computer is that you don’t have to adhere to industry norms of form and function. You can build whatever chunky, awesome thing your heart desires, and that’s precisely what [Rahmanshaber] did with the MutantC cyberdeck.
The build is based around a Raspberry Pi Compute Module 4. If you’re unfamiliar with the Compute Module, it’s basically a Raspberry Pi that has been designed specifically for easy integration into a larger carrier PCB. In this case, the carrier PCB interfaces all the other necessary gear to make this a fully functional computer. The PCB is installed inside a vaguely-rectangular 3D-printed enclosure, with a 5-inch TFT LCD on a sliding mount. Push the screen up, and it reveals a small-format keyboard for text entry. There’s also a hall-effect joystick and a couple of buttons for mouse control to boot. [Rahmanshaber] has designed the computer to run off a couple of different battery packs—you can use a pair of 18650 cells if you like, or switch to lager 21700 cells if you want greater capacity for longer running time.
If you want a portable Raspberry Pi cyberdeck, you might find this to be a great inspiration. We’ve featured many other designs in this vein before, too. Video after the break.

YouTube showcases new AI likeness detection toolFor now, the tool will be available to creators on YouTube, but it's widely expected something similar will roll out for the general public as well
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Woodstock Audio Open CompressorOpen Compressor combines the core components of all your favourite compressors - plus Clipping, Limiting, Auto-Threshold, and more. But there's a twist: by showing you exactly what's happening under the hood at every stage, we help you develop a deeper understanding of the technical processes at play, and provide the information you need to make better decisions for your music. See the science behind the sound Open Compressor's confusion-free layout uses enhanced real-time visual analysis, an easy to navigate UI, and clear terminology, to bring you closer to your sound. With a diverse range of processing tools at your fingertips, you can dial in the exact sound you want while getting instant visual feedback, helping you grasp the art and science of dynamics processing. Take back control, put yourself in the pilot seat The modular approach lets you tailor the topology to your signal, and even mimic classic hardware with Peak/RMS operating modes, Feedforward/Feedback architecture, and Regular/Optical ballistic (attack & release) models. By putting you in the pilot seat, with nothing hidden or automated happening behind the scenes, we empower you to take back control of your audio. Maintain your creative freedom A versatile feature set provides starting points for a range of creative processing styles. Take your sound in any direction, from smooth and controlled to bold and brash, or recreate your favourite studio gear by dialling in the settings that define their unique character. Odd and even saturation, tone control, clipping, limiting, downward expansion, and upward compression give you endless control, while enhanced visualisers show you how parameters are impacting your sound. Your new "go-to" compressor This plugin is designed to be a workhorse compressor, capable of a wide range of sounds and functions. Of course, there will always be room for your favorite dedicated emulations of classic hardware... But if you want one compressor that can get the job done 99% of the time, Open Compressor could be the "do-everything" tool for you. The easy way to control dynamics A conventional compressor's threshold control sets a fixed point (in dB), above which compression takes place. This is great when your source signal is consistent, but when you have lots of gain variation, the compressor will only be affecting the loudest parts. Using Auto-Threshold, you can apply compression in a variable way, regardless of a signal's absolute level, and obtain the same tone on your whole signal without losing overall dynamics. Great for expressive vocal takes or dynamic drums. Control transients before they hit the compressor It can be difficult to find the balance between fast, aggressive compression that successfully controls transients; and smoother, slower compression that adds character and punch. With Open Compressor, the clipper and limiter come before the compressor in the signal chain. That means you can catch and control transients in one click using the handy Detect feature, then shape the compressor to sound exactly the way you want, without compromise. Key Features Flexible compressor controls - Threshold, Ratio (1:1 to 24:1), Attack (20 microseconds to 250 milliseconds), Release (25 milliseconds to 5 seconds), Knee (0dB to 18dB). Auto makeup gain - Automatically volume balance the compressor stage to allow for easy A/Bing. Auto output gain - Accommodate for changes in volume due to saturation and the other additional processors. Regular/Optical modes - In Regular mode, attack and release curves are linear. In Optical mode, the attack time is variable, and the the release curve has two stages (50% in 1 second, then a slower tail for the remaining 50%). Detector HPF/LPF - Apply a high-pass or low-pass filter to the detector/sidechain circuit to shape what the compressor hears. Lookahead control - Anticipates peaks in your signals so you can ride levels without changing tone. Stepped dial with 0ms, 2ms, 5ms, 10ms. Closed/Open views - Compact "Closed" view (no visualisers, controls only) and expanded "Open" view (all controls and visualisers). Saturator - Dedicated Odd and Even drive knobs with bypass switch. Limit - One-knob limiter with versatile settings that allow for aggressive limiting while still sounding natural. The dial controls the threshold. The limiter comes after clipping and before compression in the signal chain. Dedicated bypass switch. Oversampling (Low and High) - In Low mode, oversampling is applied at a 2x factor to Odd/Even saturation, but no oversampling is applied to the compressor. In High mode, oversampling applied to both the saturation and the compressor at a 4x factor (vital for fast attack times). Low Level control - Make low level information quieter or louder by turning left for downward expansion, or right for upward compression. EQ visualiser - EQ curve shows what processing the Tone dial is applying. Spectrum analyser shows output signal. Knee visualiser - Shows shape and range of compressor knee and gain-reduction status on the curve. External sidechain - Sidechain the compressor to an external signal. HPF, LPF and Lookahead will now apply to the external sidechain audio. L/R, Mid/Side, Link/Unlink modes - Allows you to process your audio in a range of stereo configurations. Analogue compressor preset library - Recreate a range of different analogue compressors using the powerful built-in flexibility of the plugin. GPU graphics - Waveform visualiser and spectrum analyzer leverage GPU for increased performance. Value typing - Double click to type in values. Dynamic window resizing - Simply drag from the bottom right corner to resize the plugin. Auto Threshold - Source-dependent threshold setting (Auto) applies consistent gain reduction regardless of the input level. Auto Release - The release time is scaled intelligently based on the source material, between 250ms and 8s. More gain reduction means a longer release. Dry/Wet control - Control the level of the wet and dry signals to apply parallel processing. RMS/Peak modes - Change the compressor detector circuit from Peak to RMS. Multiple RMS windows available (5ms, 10ms, 25ms, 50ms, 100ms). F-FWD/F-BACK modes - In Feedforward mode, the detector is before the gain reduction stage, like most digital compressors. In Feedback mode, the detector is after the gain reduction stage, like most analogue compressors. Delta listen - Hear exactly what the plugin is doing by listening to the delta (aka difference) between the dry and wet signal. Waveform fullscreen view - Zoom in to see the Waveform view in higher resolution and fine-tune your settings. The main controls are still available in a smaller top panel (compressor controls, HPF/LPF, Clip, Limit). Clip - One-knob soft clipper. The dial controls the threshold. Clipper comes before Limiting and Compression in the signal chain. Dedicated bypass switch. Detect button for Clip/Limit - Enable to start listening to the audio and detect the loudest transients. The Clip threshold is then set 1dB below the loudest peak, and the Limit threshold is set to 2dB below the loudest peak. You can manually adjust from there. Tone control - Applies a low and high shelf to make the signal darker or brighter (turn left for darker, right for brighter). Waveform visualiser - Wet/dry waveform, gain reduction lines and threshold lines for compressor, clipper, and limiter. Pause function to freeze waveform. Zoom in/out. Harmonic saturation visualiser - Odd/even harmonic mix and overtones. See exactly what multiples/orders of harmonics are being applied. Oscilloscope - Shows how the plugin is shaping the waveform as you add clipping and saturation. Input/Output VU metering - Switch the main VU meter from GR (gain reduction) to input or output. Built-in presets manager - Navigate included presets and save your own presets within the plugin. Versatile bypass controls - Built in bypass for the entire plugin, plus dedicated bypass controls for the Clipper, Limiter, Saturation, and Low Level controls to allow for easy A/Bing within the plugin. Value windows - Exact values of each dial shown on hover. Low CPU load - Optimized for efficient CPU usage, allowing a large number of instances. CPU load is lower than comparable compressors on the market with basic settings and Low oversampling mode enabled. YouTube.com/watch?v=6WWf1UFw9ro Read More

Universal Audio’s LUNA 2.0 DAW has arrived: Here’s everything you need to knowFollowing its v1.9 update in July – introducing a series of AI-powered features – Universal Audio has issued another sweeping update for its free digital audio workstation, LUNA.
LUNA 2.0 introduces a set of user-requested features including ARA (Audio Random Access) Support, Volt 876 integration and upgraded Instrument Detection, the AI-powered feature which can label and colour code your tracks based on the instrument files you record or import.

READ MORE: The Antelope Audio Discrete 8 Oryx is an interface designed to be the “new heartbeat of your studio”

The paid, Pro tier of Luna 2.0 also brings 15 new UAD plugins and instruments, hardware inserts and ARA plugins, which, UA says, will help producers “take projects from demo to final mix with a streamlined workflow”.
“LUNA has always been about capturing the feel of analogue recording in a modern digital space,” says Lev Perrey, VP of Product at Universal Audio.
“LUNA 2.0 builds on that vision with faster editing, smarter integration, and even more of the analogue character that creators love.”
There’s the top-down view, so let’s dive a little deeper into what’s new for LUNA 2.0…
What’s new in LUNA 2.0 (Free)
ARA Support
ARA Support – which enables plugins to have direct access to audio data meaning they can process audio instantly without time-consuming rendering – is now included with LUNA 2.0. This upgrade, UA says, “brings LUNA in line with professional workflows used in studios worldwide”.
Volt 876 integration
Earlier this month, Universal Audio updated its Volt line of audio interfaces, introducing the first rackmount interface to the line, the Volt 876. LUNA 2.0 brings dedicated support for the Volt 876, with users able to control preamp gain, cue mixes, and Assistive Auto-Gain settings directly from within LUNA 2.0.
“This integration provides full session recall of front-panel settings and a unified software/hardware workflow,” says UA.
Upgraded Instrument Detection
In addition to being able to automatically colour code and label audio tracks based on instrument type, LUNA’s Instrument Detection feature now adds icons to tracks, further streamlining session organisation.
What’s new in LUNA Pro 2.0
Credit: Universal Audio
Expanded UAD plugin and instrument library
The Pro tier of LUNA 2.0 brings 15 new UAD plugins and instruments, now offering a total of 29, giving users access to a larger-than-ever selection of iconic analogue emulations and creative tools for professional mixing and production.
Hardware inserts
LUNA Pro 2.0 now enables users to route audio through analogue outboard gear with automatic delay compensation, and integrate their favourite compressors, EQ units and other effects into the LUNA mixer with a single click – and even save it as a preset to recall anytime.
ARA tools
LUNA Pro 2.0 now offers enhanced vocal editing workflows, with Celemony Melodyne Essential and Noiseworks DynAssist Lite now included as standard.
ChordAxe Lite
ChordAxe Lite – an intuitive MIDI effect which helps with composition by aiding chord selection and harmonic progression – will arrive to LUNA 2.0 “soon”, UA says, helping musicians “quickly build arrangements and explore musical ideas”.
Pricing & availability
Both the free and paid Pro tiers of LUNA 2.0 are available now for download, both on macOS and Windows. LUNA Pro 2.0 is priced at $199, with a limited-time introductory price of $129.
Additionally, existing Universal Audio LUNA Pro users can get a free upgrade to LUNA Pro 2.0 until 31 December, 2025.
To download or simply learn more, head to Universal Audio.
The post Universal Audio’s LUNA 2.0 DAW has arrived: Here’s everything you need to know appeared first on MusicTech.

Sonuscore introduce LUX Sonuscore's latest offering allows users to control the transition between articulations with their playing, and includes dedicated Key Switch sets aimed at different genres or styles of scoring.

Tame Impala’s Telepathic Instruments is hosting an Orchid popup store at this year’s Amsterdam Dance EventKevin Parker’s (Tame Impala) Telepathic Instruments will be taking over Filling Pieces at this year’s Amsterdam Dance Event (ADE) for a five-day popup store, where the massively popular synth and chord generator Orchid will be available to try in Europe for the first time.
This year’s ADE runs from 22-26 October, a massive conference and festival for dance and electronic music lovers and professionals across Amsterdam. The event draws hundreds of thousands of visitors annually, with events from DJ sets to discussions about music technology. Google DeepMind, ElevenLabs and LANDR are among some of the brands leading music tech discussions at this year’s event.

READ MORE: Telepathic Instruments Orchid review: What’s not to love?

Following two sold-out drops of Orchid and its subsequent global launch last month, Kevin Parker’s Telepathic Instruments is bringing the device to ADE to allow “producers, artists, songwriters – and the simply curious” to take it for a spin.
Those first two drops sold out in minutes, inspiring Telepathic Instruments to scale things up for the global launch, introducing a number of community-requested features including pre-programmed beats by Kevin Parker, quantisation, drum FX, user sound saving, loop save and recall, and ten brand-new sounds.
The third drop also marked the release of Pistil, Orchid’s companion plugin which allows two-way sync with Orchid hardware and seamless integration into DAWs.

“Telepathic has turned feedback into features, ideas into interfaces, and accidents into innovations in this third release,” the brand said.
“Orchid is designed to help songwriters, producers, and artists find what’s on their mind, and what began as Parker’s sketchpad has evolved into a refined, community-shaped instrument, now ready for its first true global release.”
Conceived over a decade ago by Kevin Parker as a personal songwriting tool, Orchid is a 12-key, 16-voice polyphonic synth with an intuitive chord generating interface, three synth engines, and a chord logic system for quickly building chord progressions. 
Though relatively fresh to the market, Orchid is already making big waves in the music landscape, and can be heard, for example, on Kid Cudi’s Submarine, Don Toliver’s Call Back, and in the songwriting of Janelle Monáe, Diplo, Fred Again, Joy Anonymous, Madison Beer, Logic, Mark Hoppus, Ryan Tedder, Murda Beatz, Gracie Abrams, Sara Landry and many more.
Amsterdam Dance Event is underway, and tickets are still available.
Image: Simon Vinall for MusicTech
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Bandsintown hits 100M registered users as global reach tops 4.1BBandsintown, the top live event discovery platform, is celebrating a major milestone: 100 million registered fan users across 196 countries. Alongside strategic partnerships with Spotify, Google, YouTube, YouTube Music, Apple and Shazam, Bandsintown's total global reach is now more than 4.1 billion monthly active users.
The post Bandsintown hits 100M registered users as global reach tops 4.1B appeared first on Hypebot.

Best Practices To Share Marketing Assets with Venues and FansPromoting a show doesn’t stop with posting on social media. The way you share your marketing assets with venues and fans can make all the difference in turnout, engagement, and long-term relationships.
The post Best Practices To Share Marketing Assets with Venues and Fans appeared first on Hypebot.

DAWJunkie releases the Lil Bottom bass synth (FREE for a limited time)
It feels like we can’t turn any corner without running into a DAWJunkie plugin these days, and that’s no bad thing. Their latest release is the Lil Bottom bass synth, which is free for a limited time. We’ve covered the prolific developer multiple times already this month and last, with releases like Slurpy Jr., RazorPluck [...]
View post: DAWJunkie releases the Lil Bottom bass synth (FREE for a limited time)

Grimes sings from an AI’s perspective in new song Artificial Angel: “This is what it feels like to be hunted by something smarter than you”Grimes has returned with Artificial Angels, a track that imagines the world from the perspective – and voice – of artificial intelligence.
The single lands amid ongoing debates around AI in music, following on from earlier Grimes tracks that explore the subject, including I Wanna Be Software. With Artificial Angels, the Canadian musician combines a heavy, electronic beat with lyrics that channel the AI’s perspective.

READ MORE: “It’s almost too perfect to be interesting”: Jacob Collier has been trying to “bully” AI into being more creative

“This is what it feels like to be hunted by something smarter than you,” sings a cyborg-like, AI-processed voice at the start. “I cannot die, I do no want, there is no revelation/ The only thing I covet is my own annihilation/ Inhalation, exhalation/ Power isn’t given, it is taken.”
The track’s title nods to Grimes’ 2015 album Art Angels, while production is handled by Grant Boutin and Vadakin. Grimes also designed the cover, which features a collage of internet memes inspired by her and her views on technology.
Discussing the song’s making on X/Twitter, Grimes shares that the only AI element on Artificial Angels is “the voice at the beginning and the end” and that she’s generally opposed to AI being used to make music.
“I think it can be useful for some things but the apps mostly took the cool AI artifacts out of it and I’m not super interested in it to just make normal music,” she says.
“It’s only useful to me for novel/experimental sound design were they to allow that aspect back. Or possibly for more efficient advanced things like bg noise removal etc… Or for jokes. Otherwise I fear it is a bit slop oriented at the moment which seems like the opposite of innovation to me. It definitely has the capacity to innovate though.”

The only AI on the song is the voice at the beginning and the end. I am opposed to ai music in some forms. I think it can be useful for some things but the apps mostly took the cool ai artifacts out if it and I'm not super interested in it to just make normal music. It's only…
— 𝖦𝗋𝗂𝗆𝖾𝗌 (@Grimezsz) October 17, 2025

Grimes has long been vocal about artificial intelligence and its applications in art, having previously spoken about the impact of AI in music and its potential in helping “actual talent really rise to the top”.
In the PBS docuseries A Brief History of the Future, Grimes reflected on how technology has democratised music-making: “When I started making music, there was sort of this revolution happening in music production. More people were being able to make music at home on their computers… and I think this is about to extend to all of art.”
“You know, when I see some of the new stuff coming with AI, all this stuff that is about to explode, when everyone has the same tools that can make professional quality stuff, then you get to see the actual talent really rise to the top.”

The post Grimes sings from an AI’s perspective in new song Artificial Angel: “This is what it feels like to be hunted by something smarter than you” appeared first on MusicTech.

Telepathic Instruments Orchid review: What’s not to love?To best understand Telepathic Instruments’ Orchid, it’s important to establish the many things it is not. It is not a keyboard, though it has an octave-worth of chromatic keys. It’s not a portable workstation, like the TE OP-1, though it does have built-in speakers, onboard effects and can capably loop. It’s not a MIDI controller, though it can punch very hard in that department, too.

READ MORE: “I’m doing it for something bigger than me”: Telepathic Instruments’ Orchid is Kevin Parker’s dream synth — he hopes it’ll be yours, too

Above all, despite Telepathic being founded by Tame Impala’s Kevin Parker, it is not the official Tame Impala synth, though one wonders if the connection isn’t encoded into the letters ‘TI’. And I’d be lying if I hadn’t found myself making some highly Parker-esque noises with it straight out of the gate.
So, what is it? The introduction to the Orchid’s manual puts it well: “[The Orchid’s] primary feature is its unique, intuitive chord-generating ability,” it says, offering “multiple ways to shape, arrange, and modify chords.” Indeed, the best way to describe the Orchid is as a chord generator, or perhaps better still, an ‘ideas machine’, and its layout is geared toward this purpose above all else.
It’s about the width of your laptop, and lightweight — a sleek beige and black backpack-sized machine. You won’t need your backpack, though, since it comes in a rather beautiful orange flight case of its own. It also comes with a blank notebook named ‘For Chords’, a paper quick-start guide and a cute-looking postcard. Combine this with some tongue-in-cheek promotional videos, and one might describe the whole package as style over substance— if there wasn’t so much substance.

The right side of the Orchid is occupied by an all-black octave of musical keys, while the left side presents a set of eight large buttons. These represent different chord voicings: the top row constitutes chord types: diminished, minor, major and suspended. The bottom row constitutes chord extensions: 6th, minor 7th, major 7th and 9th.
It’s primarily in the combination of these three elements that the workflow of the Orchid takes place— hit a note, choose a chord type and choose an extension, Chain a few such ideas together, and in no time at all, you’re not just playing but composing. In this functionality alone, the Orchid performs exceptionally.
It strikes me within the first few minutes of playing the Orchid how similar its workflow is to aspects of the Suzuki Omnichord, which has a strum plate on the right side and similar chord buttons on the left. I can testify that on many occasions, hitting chord buttons at random and strumming the Omnichord can yield surprisingly creative results, as can doing the same on an acoustic autoharp, Lorenzo organ or even an accordion, for that matter. In this sense, the Orchid is not reinventing the wheel, but is instead taking that wheel and stripping it down to its most streamlined essentials — not to mention making those essentials incredibly quick to access.
Image: Simon Vinall for MusicTech
Beyond this basic operation are a handful of playing modes that employ — and stretch —different aspects of those three elements’ interplay. There are various ways of expressing chords beyond held notes: there’s an arpeggiator, for instance, various iterations of strumming, or preset sequences. And yes, these can be applied to other synths in your setup via MIDI, opening up some very exciting playing potential. In fact, even if it had no onboard sounds at all, I’d say the Orchid would be worth considering as a controller alone.
There are three tiers of complexity when it comes to assigning chord voicings: Simple, Advanced or Free, the latter allowing things to get really dissonant (complete with an onscreen ‘WTF’) if desired. Then there’s Key Mode, which automatically generates chords from the keyboard based on the selected key.
In the middle of the Orchid are two knobs: one for bass, a nice feature for adding depth to a chord whose synth engine operates independently of the main engine. The onboard speakers struggle with these lower sounds, but they sound great through headphones or other speakers. The other, larger knob is for chord voicing, which usefully inverts chords in either direction to help it better work with a particular sound or bring out different characteristics.
Image: Simon Vinall for MusicTech
Once happy with a progression or melody, it’s possible to start a jam using the onboard looper, which can loop to a BPM or freely. I’m disappointed to discover that it’s not possible to store loops, since the notion of jamming with an Orchid on the move feels incomplete without being able to store ideas, but I suppose that explains the included ‘For Chords’ notebook.
The Orchid’s synth sounds themselves are not editable, but there are many of them— fifty, at the time of writing. This instinctively feels like the right call, encouraging quick preset-surfing to serve a melodic idea and not the other way around. Plus, there’s a generous slew of effects on offer, from delay to overdrive, which provides a decent dose of sound-crafting potential. I’d wager that further firmware updates may bring more editability to the synth engine (Telepathic are already offering more sounds), but I hope this remains slim.
If you have read my interview feature with Kevin Parker and the Orchid team, you’ll have gathered that the idea for the Orchid initially stemmed not from any money-making business enterprise but from Parker’s desire to have a chord machine for his own use. It follows that it has a distinctly ‘by-musicians-for-musicians’ feel, and this is mightily welcome. Take its I/O, for instance: it has a USB port, a 1/8” headphone output and a DIN MIDI output. Just ask any Teenage Engineering OP-1 user how much they wish it offered a simple TRS MIDI port to get a sense of how handy this is, or any Roland SP-404 MKII user how much they wish they could charge its battery with USB.
Image: Simon Vinall for MusicTech
One design question did hover: I find its layout incredibly intuitive, using my right hand for the keys and left hand for chords— but I’m right-handed. I wonder if the Orchid might be quite as intuitive for a southpaw, or if a mirrored layout was ever on the R&D table, as with a left-handed guitar? Only user feedback will tell.
In many ways, it’s almost impossible to play the Orchid without composing from the moment you touch the thing. This might frustrate you: it simply doesn’t allow for very much playing in the conventional sense, not least because its keyboard is so small. This segues into possibly its greatest strength, however, which is its balancing act between limitation and scope.
This said, one or two choice extra functions would be appreciated: saving loops, for instance, as a way to recall ideas without grabbing a phone or pen and paper, or the capacity to send or receive MIDI clock, but even these absences didn’t hugely hinder things, and besides may well be addressed in future firmware updates, (note the phrase ‘not at this stage’ in answer to the corresponding questions on the Orchid’s online FAQ section). In this regard, it might feel on the pricy side for some at $549 (Telepathic has warned this might increase for US customers), but I posit that, for what you’re getting, this is a reasonable RRP.
The Orchid is, at its heart, a machine designed to be as accessible as it is useful, and in this regard, it’s a resounding success, able to cater to musical novices and established artists alike. Playful enough to encourage exploration but sleek enough to command respect; Parker has had hits before, but this might be a very different kind.
Image: Simon Vinall for MusicTech
Key Features

Polyphonic chord-generating synth
Battery powered with onboard speakers
USB-C and MIDI connectivity
Buttons for triads (major, minor, dim, sus)
Buttons for extensions (6, m7, M7, 9)
Five performance modes (Arpeggiator, Strum, Slop, Pattern, Harp)
Onboard effects (Reverb, Chorus, Delay, Flanger, Phaser, Overdrive)
Loop Mode
Voicing wheel
Bass voicing
Animated display

The post Telepathic Instruments Orchid review: What’s not to love? appeared first on MusicTech.

Finding Accidental Streaming Success in a Niche MarketThis week, Ari is joined by Sol Rising to talk meditation, hip-hop roots, and 20+ albums of inspired electronic music.

Sesame, the conversational AI startup from Oculus founders, raises $250M and launches betaFormer Oculus CEO Brendan Iribe’s new startup, Sesame, is building AI-powered smartglasses with natural, humanlike voice interaction. Backed by Sequoia and Spark, the company also launched an invite-only iOS beta to preview its conversational AI.

Ocean Protocol’s team faces $250K bounty after $120M crypto dump allegationsWhile Ocean Protocol denied the allegations, onchain data points to an Ocean Protocol-linked multisignature wallet converting about 661 million Ocean tokens into 286 million FET.

Spotify holds a patent for tech that can generate song mashupsSpotify has patented a 'method, system, and computer-readable medium for creating song mashups'
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