Startups launch products to catch people using AI cheating app CluelyAI cheating startup Cluely went viral last week with bold claims that its hidden in-browser window is “undetectable” and can be used to “cheat on everything” from job interviews to exams. But some startups are claiming they can catch Cluely’s users. And Cluely says it’s ready to develop hardware products like smart glasses, or even […]

NIVA Statement on U.S. House Passage of the TICKET ActNIVA, the National Independent Venue Association, has released a statement following the U.S. House of Representatives’ passage of the TICKET Act earlier today...The speculative ticketing ban in the TICKET Act is an important step toward restoring trust in the ticketing market. Artists, independent venues, and promoters fought tirelessly over the last two years to secure this critical protection. Any national ticketing law must truly ban speculative tickets without exception.Unfortunately the inclusion of a "concierge service" carveout, as written in the TICKET Act, would undermine the speculative ticket ban. Concierge services should not be a loophole for companies like Vivid Seats to claim they are offering a service while selling “tickets” they don't possess to unsuspecting fans. States across the country have proven that strong, loophole-free ticketing consumer protections work, and Congress should build on that momentum. The White House Executive Order on Combating Unfair Practices in the Live Entertainment Market also made clear that deceptive practices must be fixed, not rebranded.We urge Congress to amend language to make certain that “concierge services” do not empower multi-billion dollar resale platforms over consumers. Further, we support strengthening the law with enhanced penalties and enforcement authority for state attorneys general to deter bad actors and help ensure the law is being followed. Illegal bot use runs rampant in the ticketing industry because the FTC has only brought one enforcement action since the use of bots was banned in 2016. We hope Congress does not miss the opportunity to ensure these laws are actually enforced in the future. We look forward to working with the Senate to ensure that fans, venues, and artists are prioritized in the final version of the TICKET Act."  — Stephen Parker, Executive Director of the National Independent Venue Association (NIVA)The post NIVA Statement on U.S. House Passage of the TICKET Act first appeared on Music Connection Magazine.

Growth of crypto poses risks to investors, financial stability — Bank of ItalyThe Bank of Italy identified Bitcoin and other digital assets as emerging risk factors in a recent report, citing concerns for both investors and the financial system.In its April 2025 Financial Stability Report, the Bank of Italy flags crypto volatility and rising integration with the broader economy, singling out stablecoins and non-financial firms’ crypto exposure as key concerns."The strong growth of Bitcoin and of other crypto-assets with high price volatility means risks not only for investors but also potentially for financial stability, given the growing interconnections between the digital asset ecosystem, the traditional financial sector and the real economy,” the report notes. Excerpt from the Bank of Italy’s Financial Stability Report. Source: Bank of ItalyThe Bank of Italy’s report also addressed the trend of non-financial corporations holding Bitcoin, stating that it exposes them to “marked price volatility” driven by “the belief that Bitcoin can support their share prices.”Strategy (formerly MicroStrategy) helped popularize the corporate purchase of Bitcoin, beginning its acquisitions in August 2020. Since then, several companies have followed its lead, including Metaplanet, Semler Scientific, and GameStop.The Bank of Italy also addressed stablecoins in its report, noting potential risks if dollar-pegged tokens were to become systemic. It suggested that increased reliance on US government bonds to back these assets could introduce broader financial vulnerabilities. According to the report, disruptions in either the stablecoins or the underlying bonds could have “repercussions for other parts of the global financial system.”The report comes just a few days after Giancarlo Giorgetti, the country’s minister of economy and finance, warned that the appeal of US dollar stablecoins should not be underestimated. According to Giorgetti, US stablecoin policies are more dangerous than US President Donald Trump’s tariffs.Related: Italy scales back plans to hike crypto tax rate: ReportGiorgetti, in his speech, highlighted the need to enhance the euro’s position on the global stage, noting that the development of the Digital Euro will play a crucial role in reducing reliance on foreign digital solutions.Related: Italy’s largest bank enters crypto market with $1M Bitcoin investment

Eventide H90 HarmonizerMulti-effects Inspiration Engine Discover why top artists and producers have chosen Eventide for over 50 years with the H90 Harmonizer, Eventide's next-generation multi-effects pedal. Whether you want high-quality bread-and-butter effects or experimental sounds unheard, the H90 has everything you need to spark creativity. Designed with players in mind, it features an intuitive interface, 68 effect algorithms, and hundreds of curated Program combinations for a wide range of instruments and genres. With its comprehensive I/O and flexible routing options, the H90 is designed to be the heart of your rig. Live Performance Machine The H90 Harmonizer is a live performance powerhouse! The front panel has been reimagined with five push knobs, seven LED buttons, and a hi-res OLED display for greater hands-on control and parameter feedback. In PERFORM mode, you get six programmable footswitches. Map functions like tap tempo, preset and insert bypass with momentary states, and performance parameters like reverb freeze, pitch flex, or delay repeat. Furthermore, you can make multiple instantaneous parameter changes with three HotSwitches. Comprehensive UI The comprehensive UI allows you to control any parameter with ease. Adjust expression mappings by hand with the PERFORM HotKnob and engage up to six individual assignable parameters with the three push-button Quick Knobs. Get even more control with two inputs for expression pedals or auxiliary switches with up to three buttons. If that's not enough, take advantage of the pedal's extensive MIDI control. Dual FX Processing The H90 Harmonizer's dual algorithm design features true spillover between Programs, series or parallel effect routing, and flexible I/O. H90Control H90 Control provides remote control access and Program list management for the H90. Manage Program and Preset settings, perform system updates, and import/export User Lists with an easy-to-use interface. Additional Features Preloaded with 68 effect algorithms: 14 new effect algorithms: VocalShift, VocalTune, Polyphony, Prism Shift, PolyFlex, PolySynth, Bouquet Delay, Head Space, WeedWacker, Even-Vibe, Wormhole, Instant Flanger, Instant Phaser, Aggravate, Sticky Tape and SP2016 Reverb. Includes all 52 effect algorithms from the H9 Max Harmonizer with enhanced features and improvements. New low-latency Polyphonic Pitch Shifting with SIFT (Spectral Instantaneous Frequency Tracking) technology. ARM-based architecture lays the foundation for new and exciting creative effects. Use two algorithms at once per Program. True spillover between Programs. Route effects in series or parallel. Instrument or line-level operation. Two mono inserts or one stereo insert can be positioned anywhere in the signal chain. Dual-mode for processing two independent stereo signals at once. Five push-turn knobs for more tactile control. Two expression inputs for pedals, up to 3-button auxiliary switches, and CV signals. Use H90 Control software to edit Programs, create lists, and update firmware on a Mac or PC. Built-in tuner. Read More

TICKET Act passes U.S. House, but key trade groups want moreThe U.S House of Representatives on Tuesday overwhelmingly passed the TICKET Act by a bipartisan vote of 409-15. The bill now heads to the Senate.
The post TICKET Act passes U.S. House, but key trade groups want more appeared first on Hypebot.

Spotify records its highest subscriber net adds since 2020 in first quarter of 2025Spotify has recorded even more growth across the first quarter of the year, with its highest subscriber net adds since 2020.
The platform has shared its latest Q1 report, revealing a record high operating income (its profit after deducting operating expenses), which rose to €509 million across the quarter, and a premium subscriber count of 268 million – an increase of 12 per cent year over year, marking the the second-highest Q1 in Spotify’s history. Monthly active users reached 678 million (up by 10 per cent Y/Y), and total revenue was also up by 15 per cent to €4.2 billion.

READ MORE: Best Spotify alternatives in 2025 for music listening and discovery

Looking to the second quarter of 2025, Spotify predicts that its total number of monthly active users will rise to 689 million and its total of premium subscribers will reach 273 million –  thats approximately five million net new subscribers in the quarter. It also forecasts that total revenue will reach €4.3 billion, though it does specify that these results are subject to substantial uncertainty.
Spotify CEO, Daniel Ek, comments, “The underlying data at the moment is very healthy: engagement remains high, retention is strong, and thanks to our freemium model, people have the flexibility to stay with us even when things feel more uncertain. So yes, the short term may bring some noise, but we remain confident in the long-term story, and the direction we’re heading in feels clearer than ever.”
Back in March, Spotify released its Loud & Clear annual royalty report for 2024. It revealed that it was the highest paying retailer globally in 2024, paying the music industry over $10 billion in total. It said this was the largest payout in music industry history, and was over 10x the contribution of the largest record store at the height of the CD era.
Amid ongoing criticism of its royalty model, it also released a video on how the money flows from its platform to artists, which you can watch below:

You can read the full report on Spotify’s Q1 earnings via its official newsroom.
The post Spotify records its highest subscriber net adds since 2020 in first quarter of 2025 appeared first on MusicTech.

Crossing Commodore Signal Cables on PurposeOn a Commodore 64, the computer is normally connected to a monitor with one composite video cable and to an audio device with a second, identical (although uniquely colored) cable. The signals passed through these cables are analog, each generated by a dedicated chip on the computer. Many C64 users may have accidentally swapped these cables when first setting up their machines, but [Matthias] wondered if this could be done purposefully — generating video with the audio hardware and vice versa.
Getting an audio signal from the video hardware on the Commodore is simple enough. The chips here operate at well over the needed frequency for even the best audio equipment, so it’s a relatively straightforward matter of generating an appropriate output wave. The audio hardware, on the other hand, is much less performative by comparison. The only component here capable of generating a fast enough signal to be understood by display hardware of the time is actually the volume register, although due to a filter on the chip the output is always going to be a bit blurred. But this setup is good enough to generate large text and some other features as well.
There are a few other constraints here as well, namely that loading the demos that [Matthias] has written takes so long that the audio can’t be paused while this happens and has to be bit-banged the entire time. It’s an in-depth project that shows mastery of the retro hardware, and for some other C64 demos take a look at this one which is written in just 256 bytes.

Thanks to [Jan] for the tip!

Subscription growth, super-premium, and short-form video’s ‘inadequate monetization’: 7 takeaways from Universal Music Group’s Q1 2025 earnings callSir Lucian Grainge, Michael Nash, and Boyd Muir dug deep into the company's strategy and numbers on their Q1 call
Source

Labels may be slowing Spotify Superfan launch, hints CEO EkRecord labels may be slowing the Spotify superfan launch, CEO Daniel Ek hinted during an investor call Tuesday announcing the streamer's mixed Q1 2025 Report.
The post Labels may be slowing Spotify Superfan launch, hints CEO Ek appeared first on Hypebot.

Spatial audio is coming to the BandLab app courtesy of a new partnership between Sony and BandLab TechnologiesEditor’s note: BandLab Technologies and MusicTech are both part of the Caldecott Music Group.
BandLab Technologies has formed a strategic partnership with Sony aimed at “redefining” music creation for independent and emerging artists worldwide.
The initial phase of the partnership – beginning this summer – is set to integrate Sony’s Spatial Sound technology, 360 Reality Audio, directly into the BandLab app, giving its 100 million worldwide users the ability to experience and make music in spatial audio using just their smartphone and standard headphones.

READ MORE: With its acquisition of Song Sleuth, Epidemic Sound wants to help artists claim “undiscovered royalties” from user-generated content

Users will be able to explore a curated collection of spatial-ready beats in the BandLab Sounds marketplace, and then build on them in BandLab Studio, adding vocals, instruments and additional production elements while experimenting with spatial audio.
More broadly and long-term, the partnership reflects both companies’ mission to empower music makers with “cutting-edge technology and opportunities that fuel their growth, spark innovation, and build their careers”.
Beyond its initial phase, as the partnership evolves, a dedicated, co-branded hub within BandLab will act as a gateway for future features, integrating new music creation tools and providing exclusive access to newly developed educational programmes.
BandLab says the partnership will also mean opportunities to amplify artist success stories to a global audience, offering them greater visibility.
“This partnership reflects a shared belief that the technology and opportunities to create music should be available to everyone, not just a select few,” says Meng Ru Kuok, CEO & Co-Founder of BandLab Technologies. 
“By working with Sony Corporation, we’re combining our strengths to empower creators at every step of their journey. It’s not just about what artists can do today, but about what becomes possible when they’re given the right support to experiment and grow.”
Masaaki Oshima, Sony Corporation’s Head of Personal Entertainment Business Unit, adds:  “Sony Corporation has long been committed to delivering premium audio experiences, and this partnership with BandLab Technologies allows us to bridge the gap between professional-grade sound and independent creators of all levels.
“By integrating our audio products and technology into BandLab’s ecosystem, we’re not only expanding access to immersive audio tools, but also strengthening our connection with the pro-consumer market, enhancing the way music is created and experienced. We’re excited to see how artists push creative boundaries with these new possibilities.”
To learn more about the new partnership, head to Sony.
The post Spatial audio is coming to the BandLab app courtesy of a new partnership between Sony and BandLab Technologies appeared first on MusicTech.

“I struggled to tell the difference between my real speakers and the simulation. That says a lot”: Mix in a variety of virtual acoustic spaces with Lewitt’s Space ReplicatorLewitt – purveyor of microphones and pro audio gear – has just released its very first plugin, and it could be a godsend for mix engineers. If you’re unable to get down to a studio, club, or simply working on the go, Lewitt’s Space Replicator is a quick and convenient way to to test out your mix in its intended environment.
The Space Replicator plugin virtually emulates the acoustics of different spaces, from “million-dollar mixing studios”, to a bluetooth speaker playing in a kitchen.

READ MORE: “There are no strings, no structure to generate revenue”: Moby relaunches royalty-free audio library, mobygratis – and it’s totally free

Lewitt’s new plugin comes loaded with a wide range of possible listening scenarios. You can emulate the sound of a Lewitt studio, or you can even take a trip overseas to the Vienna Synchron Stage recording studios or Berlin’s Watergate club PA and DJ booth (both with and without a crowd).
You can also scale things down to more everyday scenarios. The plugin allows you to check how your mix might sound on a car radio (from four different positions), as well as in a living room on a smartphone or laptop. You can even hear how it might sound coming from a TV speaker or soundbar in a living room.
Space Replicator also allows you to hear how your mix might sound through five different headphone brands. There’s also a Transparent option, which should simulate the ideal frequency response on your headphones. The result was determined by a panel, and should, in theory, just make your mix sound great.
The plugin was created by capturing real acoustic spaces and turning them into “virtual acoustic spaces with extremely high resolution”.

“The perception of sound depends on the room, the speaker system, and the listener,” a company representative explains. “Traditional solutions [suggest] that the direction of sound waves is a property of the room and the speaker system… [they neglect] your individual binaural profile.”
“By rendering the spaces for your personal binaural profile… you will get a lifelike experience,” they say.
Audio engineer Wytse Gerichhausen of White Sea Studio has already given it a seal of approval. “When Lewitt approached me to sample my studio for their plugin, I was skeptical – as I always am,” he says. “But the moment I tried Space Replicator I struggled to tell the difference between my real speakers and the simulation. That says a lot.”
Space Replicator works with any pair of headphones, and costs £89. For more information, head to Lewitt.
The post “I struggled to tell the difference between my real speakers and the simulation. That says a lot”: Mix in a variety of virtual acoustic spaces with Lewitt’s Space Replicator appeared first on MusicTech.

With its acquisition of Song Sleuth, Epidemic Sound wants to help artists claim “undiscovered royalties” from user-generated contentEpidemic Sound has acquired Song Sleuth, a company which uses music recognition technology to identify copyrighted music and claim “undiscovered royalties” from user-generated content.
The acquisition sees the immediate launch of Aentidote, a new service which combines Song Sleuth’s “cutting-edge AI technology” with Epidemic’s industry expertise to identify music usage that traditional detection systems struggle to find, like in remixes, covers and live recordings. Aentidote is said to offer an “unrivalled identification success rate” of up to 95%.

READ MORE: The best free and paid-for plugins you need to know about this week

Put simply, Aentidote is designed to help platforms pay out more accurately so that artists and rights holders are paid – fairly and efficiently – for the use of their music across online platforms.
Song Sleuth is Epidemic’s third major acquisition in three years, following AP Records – now Overtone Studios – in 2022, and Soundly in 2023.
“From day one, our mission has been to create a win-win situation for everyone involved in this rapidly evolving creator economy,” says Oscar Höglund, CEO and Co-founder of Epidemic Sound.
“We’ve built a platform that helps artists thrive, generating over three billion daily plays across platforms like TikTok and YouTube. With Aentidote, we’re pairing that expertise with Song Sleuth’s cutting-edge technology to bring even greater value to the broader creator industry – giving music rights holders powerful tools to track usage and ensure they get paid, while supporting both creators and platforms with scalable, accurate identification solutions.”
According to Epidemic, Goldman Sachs predicts the creator economy will approach half a trillion dollars by 2027, meaning “increasing opportunities for rights holders, the industry, and artists to capture the full value of their work”.
“The complexity of music use across a plethora of digital platforms both officially distributed and user-generated, requires a different approach,” says Jordan Gross, CEO of Song Sleuth.
“By joining forces with Epidemic Sound, we’re scaling our vision to offer unprecedented clarity and control across the entire music ecosystem, providing platforms with ever more accurate identification systems, while giving artists, labels, and publishers confidence that their work is being both found and rewarded.”
The acquisition follows “strong financial results” for Epidemic Sound in 2024, with reported revenue growth of 29%.
For more information, head to Epidemic Sound.
The post With its acquisition of Song Sleuth, Epidemic Sound wants to help artists claim “undiscovered royalties” from user-generated content appeared first on MusicTech.

My Forever Studio: TOKiMONSTA nabs a historic synthIn this episode of My Forever Studio, brought to you in partnership with Audient, experimental veteran TOKiMONSTA tells us about a cheap synth she adores for bass, explains how she peppers her tracks with field recordings, ponders which historic synthesizer she’d steal off an electronic music pioneer, and all while skillfully bending our important Forever Studio rules.
TOKiMONSTA, real name Jennifer Lee, joins hosts Will Betts and Chris Barker following the release of her album, Eternal Reverie. Lee has been moving the needle in electronic music for over 15 years, becoming a revered trailblazer in the beat scene and a prominent producer on Flying Lotus’ Brainfeeder label.
After a battle with Moyamoya disease in 2015, Lee briefly lost the ability to comprehend music and language — an experience which she says made her realise, “everything is finite and being able to create music and share it is a gift.” With the release of Eternal Reverie, Lee says that she “went back to my roots, where I didn’t have very much and I could create without any expectations. So, weirdly, even just talking about a dream studio, that’s kind of where I wanted to be when I made this album.”
Listen to the full episode below.

In the previous episode of My Forever Studio, we heard from British DJ, producer and podcaster extraordinaire Will Clarke, who told us about his Somerset dream studio, the must-have synth that could fuel his creativity forever, and which readily available mic he trusts for capturing vocal recordings.
The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
Subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
The post My Forever Studio: TOKiMONSTA nabs a historic synth appeared first on MusicTech.

Darkglass Electronics announce the Anagram The Anagram packs in an array of amp and cabinet simulations along with a comprehensive collection of effects, and offers a choice of three control modes.

New Music Critique: Post TraumatikContact: posttraumatik@gmail.comWeb: SpotifySeeking: Album ReviewStyle: RockPost Traumatik describes themselves as “Pittsburgh Rock ‘n’ Roll. Making you drink since 2008.” While this writer won’t be driven to drink by these tracks, there is definitely something about their sound that makes a pint and a mosh all the more appealing. Their music doesn’t ask for permission—it kicks the door in and throws the party anyway. There is essence of Heart peeking through with these guys; the vocals don’t hold back in the slightest, the guitar seriously shreds, and the bass pounds. In “Slow Creep” they sing “Gotta bad feelin’, but it’s alright,” and that pretty much sums up their raw, reckless energy—embracing chaos with a grin and a riff.The post New Music Critique: Post Traumatik first appeared on Music Connection Magazine.