Soundware’s Octane Rompler Plugin Is Now FREE
Soundware has made its Octane rompler plugin available for free for Mac and Windows. Soundware describes Octane as “the pro-grade rompler that changed the game by making professional tools accessible to anyone.” The developer explains that the plugin was designed by producers for producers and is “the top choice for sound creation. With lots of [...]
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Fully 3D Printed Case Is Stacked High With Mini PCsOver the years we’ve seen no shortage of 3D printed cases designed to hold several Raspberry Pi computers, often with the intent to use them as convenient desktop-sized platforms for experimenting with concepts such as server load balancing and redundancy.
The reason the Pi was always the star of the show is simple enough to explain: they were small and cheap. But while the Pi has only gotten more expensive over the years, x86 machines have gotten smaller and cheaper. Which is how a project like the N100 Obelisk was born.

As the name implies, [Jay Doscher] has packed this printed tower of power with a number of mini computers utilizing the Intel N100 CPU, namely the QC12 from Beelink. At $250 a pop they’re definitely a more expensive option than the Pi 5. But with each one packing 16 GB of RAM, a 512 GB NVME drive, plus the option to plug in a SATA drive, you’re getting plenty of bang for your computing buck.
Each QC12 lives on its own printed “shelf” inside the case, which will fit up to five of the machines at once. Though [Jay] notes that heat could become an issue at that point, so four seems like a safer number. The front panel of each computer can be accessed through a cut-out in one side of the case, while the rear (and all the cables) are covered with easily removable panels should you need to get in there and reconfigure anything.
With everything all buttoned up, it looks like it could survive a bomb blast. Considering it took two rolls of filament and the better part of 100 M4 screws to put the thing together, we’d wager it doesn’t just look tough, either. The write-up says the goal was for the final product to have a certain brutalist style, and it certainly seems like the mission was accomplished on that front.
Of course, the really standout feature of the Obelisk is the integrated Waveshare AMOLED display. This 13.3 inch panel boasts a resolution of 2560×1440, and even offers touch support. Here it’s been rotated into portrait orientation to provide plenty of vertical space, making it ideal for working on the command line, writing code, or scrolling through long documents. Don’t need a screen? No problem — the case has been designed in such a way that you can forgo the display and fill in the opening with more of the printed panels.

As we’ve seen with his previous projects, [Jay] has a knack for turning extruded plastic into devices that are both functional and visually striking. We’re always excited when one of his creations come our way, and can’t wait to see what he’s got in store for the future.

Apple Music launches ‘Apple Music Partner Program’ for labels and distributors, including ‘premium’ data analytics toolsNew program is available initially for a limited number of record labels and music distributors in the US
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Will Bloomfield joins TaP Music as Co-President and Head of Global Artist ManagementBloomfield was named one of Billboard's 40 Under 40, and is part of the team leading the Richard Antwi Scholarship
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MusixMatch wants a photo ID selfie before adding lyrics for Spotify, Apple, MetaMusixMatch, which provides lyrics to Spotify, Apple Music, Amazon Music, Meta, Google, and more, now requires artists and fans who want to add new songs to first upload a selfie with a valid government-issued photo ID.....
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DALI IO-12 are incredible headphones that serve a hyper-niche audiencePrice: £999/$1,040/€999
Let’s be honest, not many people are considering a pair of headphones at £999; most people’s eyes bulge at the price of Apple’s AirPods Max at £549. But, to diehard music fans, DALI’s IO-12 almost make a strong case for saving up the cash and truly enjoying your music with a luxury pair of headphones.
How do the DALI IO-12s sound?
These headphones sound outstanding. Wired and wireless, you get a truly enlightening listening experience — once you hear your favourite tunes on the IO-12s, you probably won’t reach for any other wireless headphones at home.
This is thanks to some seriously meticulous engineering on DALI’s part, with a “highly advanced” 50mm drive with a low-loss paper fibre diaphragm. The drivers are also made with DALI’s SMC material, found in its range of luxury high-end loudspeakers.
A look at the parts inside the DALI IO-12 ear pads
The IO-12s aptXHD and aptX Adaptive Bluetooth codecs will get you TTKTK. This is fine for most, but a shame for the audiophiles wanting aptX Lossless. At £999, you’d expect this and spatial audio (also missing) for supreme versatility.
For the listening test, I’m referencing with Fleetwood Mac’s Dreams, Channel Tres’ Topdown and Portishead’s Glory Box — all on a lossless streaming service.
When listening to Dreams to test headphones, I usually listen for how Stevie Nicks’ voice sounds, how accurately the mix is conveyed, and if the headphones capably maintain the stereo width. The DALI IO-12s effortlessly impress on those fronts but unexpectedly guide my ear to parts I usually don’t listen for. With these on, I hear the backing vocals shine beautifully under Nicks’ lead vocal — something that’s usually lost on less-accomplished audio devices. Also, the reverb tails of Nicks’ vocal are clearer and more satisfying than ever.
Topdown is led by a deep bassline beneath Channel Tres’ vocal, so I activate the Bass Mode to get a more pronounced low-end. It works nicely, accentuating the bass but not making it overbearing, as other headphones like Beats’ Studio Pro sometimes do. The difference isn’t that dramatic but I still prefer the more balanced clarity of the default Hi-Fi mode — and the low-end is still impressively deep on this mode. The same can be said for Glory Box, which expertly articulates the low end while letting the vocal and backline shine.

I’m comparing the IO-12s here with Sendy Audio’s Aiva headphones, Beats’ Studio Pro, and the Nuraphone, all of which are more affordable but have different USPs. I’ll spare you the details — the IO-12s sound the best — only slightly, though: the Aiva’s sound slightly harsher but are still as powerful in the lows and mids; the Nuraphone (sadly discontinued) sound pretty damn close with excellent balance and stereo width; Beats’ Studio Pro simply can’t deliver the same stereo image and clarity in the high end as the IO-12s.
The IO-12s most striking experience, though, is just how enveloped you are in the music. Completely isolated from the outside world and hearing new elements in your favourite songs is exactly what you’d expect from a pair of headphones like this. Although the actual sound quality isn’t drastically better than some other pairs, the listening experience somehow feels way more enjoyable.
DALI IO-12 connectivity options
You’ll be pleased with the various connections the DALI IO-12s offer. Bluetooth makes them fairly universal, and they boast effective multi-point connectivity so you can automatically switch between playback devices.
The battery life will keep you going for up an impressive 35 hours, sitting just above the battery life of competing headphones.
Meanwhile, an 3.5mm jack port and cable lets you plug into the aux socket of any other devices for hi-fi wired listening with 24-bit/96kHz resolution. Best of all, they use USB-C for hi-fi listening on your laptop or phone.
DALI IO-12 headphones on a stand
Lastly, other reviewers have bemoaned the lack of a companion app. This means no tweaking the sound profile of the IO-12s. This is an odd omission from DALI, but it’s also a treat to not be forced to download and tinker with an app before you can start listening to music, only to open said app once every few weeks. But this will definitely be a deal-breaker for those who love to get precise with their EQing.
Are the DALI IO-12s comfortable?
Time to get real about the fit of these headphones. They are big. The earpads are almost comically large and straight out of a 70s sci-fi movie. To my eyes, they aren’t as street-cool as headphones by Beats or Bose, but maybe you’re a fan.
Happily, the design has a purpose — these headphones are supremely comfortable and easily adjustable to your head. They’re also surprisingly light, considering their size, weighing 14g less than the AirPods Max. Also, the secure fit also ensures optimal noise cancelling. Before you even activate ANC (which is excellent), you’ll notice an awesome amount of isolation thanks to the snug cups.
DALI IO-12 headphones case
To keep these safe, DALI has included a robust but soft carry case. Still, the size of the headphones and case means I struggle to take them out and about with me in a bag. Not that you’ll want to take them out of the house regularly, anyway.
Are the DALI IO-12 really worth it?
On the price: £999 is prohibitive. But are they worth it? Almost. The headphones are missing a few crucial features to make them the ultimate long-term purchase that they could be.
Without spatial audio and lossless Bluetooth, the IO-12s aren’t future-proof. Maybe these downsides seem minor, but you’ll want to use them for your home entertainment listening — these are £999 and spatial audio is a nice touch for watching movies, so why not at least have the option? And, if you’re serious about sound, why wouldn’t you want to take advantage of the lossless Bluetooth codec, made available in 2022. I’d wager you’ll want to swap these headphones in two years as more mid-tier audiophile headphones incorporate such technologies.
DALI IO-12 headphones on a stand displayed on a shelf
Plus, the bulky design means you can’t really take these out of the house with you for exercise and short commutes. And, at £999, why risk it? A pair that’s £300-400 less could give you more freedom and only a slightly lesser performance.
A close competitor is Focal’s Bathys headphones, which are £699 and sound excellent — not as detailed as the IO-12s, but still better than the likes of AirPods Max. If the IO-12s were £799, they’d be a strong recommendation if you’re looking for a reliable pair for at-home listening. £999 prices a lot of us out.
Should you buy the DALI IO-12s?
I love the sound of these headphones. I love how comfortable they are. I even love the voice assistant. But they’re tough to recommend when considering the alternatives.
It’s a shame that DALI hasn’t included spatial audio and lossless wireless listening. It’s a shame that they’re so big. And it’s a shame that they are priced so high. Yes, other audiophile headphones, such as Meze Audio’s Elite, could set you back an eye-watering £3,749. But their audience is defined and bespoke: purist audiophiles seeking a best-in-class wired listening experience. As the IO-12s attempt to straddle two worlds, they ultimately serve very few listeners.
But, honestly, if you have the cash or manage to find a deal on them, they’re worth considering if you want a reliable pair for flexible at-home listening and long commutes. They really do sound exceptional.
Learn more at
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PSPaudioware reimagine compression with PSP Flow The latest addition to PSP Audioware’s extensive plug-in range has been designed to apply significant amounts of compression while avoiding the usual side-effects.

Electronic music, fandom, and the rise of the Global SouthI recently presented the tenth edition of the IMS Business Report at the Ibiza-based conference. In MIDiA’s second year creating the report, the findings reveal a global electronic music industry that not only has positive revenue trends but is also experiencing a global cultural resurgence. Here are some of the key findings of the report, which can be downloaded for free here:

Fandom surge: Electronic music is the smaller of the big, global music genres, but it is, nonetheless, a member of that genre club and it is quickly gaining ground on its peers. Electronic music is growing fandom faster than most other leading genres, adding more fans across YouTube, TikTok, Instagram, Facebook, and Spotify in 2023. This was a turnaround from 2022 when the other big genres (hip hop, rock, Latin) were growing faster than electronic. Electronic music is having a fandom moment.

New fan markets: Germany, the UK, and Australia have been three of electronic music’s leading markets in terms of culture, fanbase, and revenue for many years. Unsurprisingly, they are also the three countries with the largest cumulative number of Spotify monthly listeners to electronic music (by cumulative we mean the gross total of all ‘listeners’, which means one person can be more than one listener, as per Spotify’s definitions). But the remainder of the top ten Spotify markets reveals the rise of the Global South, with India, Brazil, Mexico, and South Africa all claiming top ten spots. South Africa is particularly interesting; it entered the top ten for the first time in 2023 and has twice as many cumulative monthly listeners as the country does people. Electronic music has quickly established cultural heft in South Africa.

Rise of Africa: You can tell a trend is worth paying attention to when it starts cropping up in many different places. Not only is South Africa now a top fan territory, but Afro House also became a top 10 Beatport genre for the first time in 2023 as well as a top search term for sample platform LoopCloud. The former points to success of already-made music, the latter music yet-to-be-made. On top of this, #Amapiano views on TikTok hit 9.8bn in 2023, up 168% on 2022, with Tyla hitting 21.7bn global views. Western music, Anglo repertoire especially, has long been used to being the music that ‘exports’. Streaming and social are changing this. The strong rise of African music in global dance music culture is part of a seismic shift in global music culture, with the Global South set to increasingly shape global tastes.

Of course, the highlight of the IMS Business Report is the industry value figure. In 2023, the global electronic music industry was up by 17% to reach $11.8 billion. Growth didn’t always come easy, with over a third of executives saying they had to work hard at success in 2023, but it was nonetheless a good year for electronic music. 

Continued strong growth in live (festivals, clubs) was a core component of the industry revenue trend but recordings and publishing also performed well. While total industry growth was not as strong as in the 2022 post-pandemic ‘rebound’ year, 2023 showed what long term, organic growth can look like. The global dance music business is now in its post-post-pandemic growth phase!

How to find and negotiate the right Music Distribution DealDistroKid, CD Baby, TuneCore, Symphonic, The Orchard, Believe, Downtown. The list goes on and on. This guide will help you find what's right for you.....
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10 ways to make you and your music easier to find online: SEO For MusicWant your band, brand and music to be one of the first things people see when they search online? Then it's time to learn about SEO (Search Engine Optimization).....
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Apple’s new iPad Pro ad shows hydraulic destruction of music gear – and people are furiousApple just dropped the ad for the new iPad Pro, billed as its “thinnest ever” – and people are furious. That is, because it features a hydraulic press crushing and destroying thousands of pounds worth of music and studio gear.
The ad – which is actually rather ominous in tone, at least in the eyes of us music obsessives – sees a stash of equipment, including a trumpet, piano, guitars, computers, and a host of outboard gear – slowly be flattened under an enormous hydraulic press, soundtracked by All I Ever Need Is You by Sonny and Cher.

READ MORE: Apple unveils Logic Pro 11 and Logic Pro For iPad 2 – with AI front and centre

After a cringe-inducing 50 seconds of hydraulic destruction, the press raises to reveal the new iPad Pro, with the message: “The most powerful iPad ever is also the thinnest”.

Meet the new iPad Pro: the thinnest product we’ve ever created, the most advanced display we’ve ever produced, with the incredible power of the M4 chip. Just imagine all the things it’ll be used to create. pic.twitter.com/6PeGXNoKgG
— Tim Cook (@tim_cook) May 7, 2024

Safe to say, the ad has stirred up quite the storm, with many condemning the Cupertino tech giant for its careless destruction of equipment that would be unaffordable to many.
Sterling Crispin, a software developer and former Neurotechnology Prototyping Researcher at Apple, replied to the ad posted to Tim Cook’s Twitter/X page: “Crushing symbols of human creativity and cultural achievements to appeal to pro creators, nice.
“Maybe for the next Apple Watch Pro you should crush sports equipment, show a robot running faster than a man, then turn to the camera and say, ‘God is dead and we have killed him.’”

Crushing symbols of human creativity and cultural achievements to appeal to pro creators, nice.
Maybe for the next Apple Watch Pro you should crush sports equipment, show a robot running faster than a man, then turn to the camera and say, "God is dead and we have killed him"
— Sterling Crispin (@sterlingcrispin) May 7, 2024

Another user writes: “The symbolism of indiscriminately crushing beautiful creative tools is an interesting choice.”

The symbolism of indiscriminately crushing beautiful creative tools is an interesting choice.
— Kiaran Ritchie (@kiaran_ritchie) May 7, 2024

One user even suggests the ad should have been delivered in reverse, so as to suggest all the musical and creative tools are “expanding out of the iPad rather than being crushed into it”, and shares the ad in reverse to showcase their point.

I think the ad would work much better if it was reversed. All the objects should be expanding out of the iPad rather than being crushed into it
made this edited version in five minutes (thanks iMovie!) pic.twitter.com/TZxzpuYzXu
— kepano (@kepano) May 8, 2024

Of course, in this day and age, controversy sells, and the commercial may very well have been a considered decision on Apple’s part. That said, the tech giant is one of the biggest companies in the world and a household name all over the world, so it’s odd that such a divisive marketing move would be deemed necessary.
It’s also evidence that Apple remains switched on to current trends in an effort to market to younger audiences; anyone who’s perused TikTok lately will likely be aware of the abundance of hydraulic press content on the platform.
To learn more about the new iPad Pro, head to Apple.
The post Apple’s new iPad Pro ad shows hydraulic destruction of music gear – and people are furious appeared first on MusicTech.

People are accusing Spotify’s new AI Playlist feature of being homophobicAs AI advances, users are eager to experiment. From TikTok’s AI Song generator to X’s new AI search assistant available to Premium users, companies are fine-tuning their own unique brands of artificial intelligence.
However, as more companies introduce flashy AI features, the pitfalls of AI are starting to show. While artificial intelligence may be powered by heaps of data, statistics and complex algorithms, it often lacks one crucial thing – common sense.

READ MORE: Apple unveils Logic Pro 11 and Logic Pro For iPad 2 – with AI front and centre

Spotify is one such company that has faced criticism for its implementation of AI. The company has introduced some strong AI features – such as the AI DJ, which utilises OpenAI song-curation and a Sonantic-powered AI voiced MC to craft a personalised DJ set. However, Spotify’s new AI Playlist feature is already causing some issues.
While Spotify’s AI DJ is based on your listening habits, the new AI Playlist feature relies on prompts. It’s not based solely on statistics and data – it first has to register a user’s written command. This means that, while AI DJ has already worked out what to throw at you, an AI Playlist is thinking stuff up on the spot. And it isn’t going well.
An X user has recently shared a screenshot of their questionable interaction with Spotify’s AI. When the user requests “music for gay sex”, Spotify’s AI responds with “That’s a spicy note you’ve hit! Let’s tone it down a notch.” However, when asking just for “music for sex,” the AI promised to craft a playlist of “sensual and smooth tunes” immediately.

new spotify ai is homophobic pic.twitter.com/u3smCHO7iM
— redacted (@jkrwls) May 7, 2024

Another user tried to get a “same sex sex playlist” and was also told it was “too risqué” and that the AI couldn’t provide a playlist for “that activity.” Another got a response from the AI reading “my sensors are blushing! I can’t help you with that.”

https://t.co/Z0sYPn9PqH pic.twitter.com/w8ko52nLBU
— Owain (@orhunt) May 8, 2024

AI is essentially lines of coding, and in this case, simply regurgitates homophobia its algorithm has consumed when processing a given prompt.
An attempt at ‘empathy’ is clearly present – albeit incredibly poorly implemented. One users asked for “music about being disabled” and the AI refused, stating “let’s keep it inclusive instead.” The response has the general idea of ‘inclusivity’, yet it doesn’t understand that refusing the request is, ironically, exclusive.

wtf https://t.co/iJB4AqjsgB pic.twitter.com/jtonUUOTgW
— Bones (@SkittishCat) May 8, 2024

As one person notes on Reddit, “Without access to a users listening history and library, it’s pretty useless.” In theory, access to a user’s listening history could allow the AI to presume more about the user inputting a prompt – meaning there could be less chance of it insulting a queer or disabled user.
X users have responded with anger, one even stating: “I have paid real money for Spotify for almost a decade and if they don’t fix this I will stop doing that permanently and tell all my friends to do the same, unfortunately I’m so serious.”
The post People are accusing Spotify’s new AI Playlist feature of being homophobic appeared first on MusicTech.

Read Steve Albini’s 1992 letter to Nirvana: “Paying a royalty to a producer is ethically indefensible…there’s no fucking way I would take that money.”Today, the music industry is mourning the sad, sudden passing of Steve Albini, a legendary producer, engineer and musician. Known to many as the mastermind of Nirvana’s 1992 In Utero, Albini was beloved for navigating the industry with a unique, no-bullshit approach. His 1992 production proposal letter to Nirvana, which has now resurfaced, illustrates such sentiments perfectly.
Posted to Nirvana’s social media, the four-page letter from Albini to band members Kurt Cobain, Dave Grohl and Krist Novoselic — whom Albini refers to as ‘Chris’ in the address — sees Albini advise the trio on how to record their album.
He speaks on payment (“there’s no fucking way I would ever take [royalty payments]”), the suggested recording gear, (“the same Neve console AC/DC’s Back In Black was recorded and mixed on), and his creative methods as a producer (“I’m only interested in working on records that legitimately reflect the band’s own perception of their music and existence”).
Albini seemingly sent the letter several days after a previous meeting with Cobain about recording In Utero.
Speaking on the industry-standard means of paying a producer, Albini says: “I explained this to Kurt but I thought I’d better reiterate it here. I do not and will not take a royalty on any record I record. No points. Period. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It’s the band’s fans who buy the records. The band is responsible for whether it’s a great record or a horrible record. Royalties belong to the band.”
“I would like to be paid like a plumber,” Albini continues. “I do the job and you pay me what it’s worth. The record company will expect me to ask for a point or a point and a half. If we assume three million sales, that works out to 400,000 dollars or so. There’s no fucking way I would ever take that much money. I wouldn’t be able to sleep.”
Steve Albini in his Chicago studio, 2014. Image: Getty
Albini was renowned for speaking his views on the music industry — and payment, in particular. In an article published by The Baffler in 1993, Albini wrote about why he feels the music industry is “a trench filled with decaying shit.”
“[Hypothetical band] decided to go with the producer who used to be in [David] Letterman’s band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old ‘vintage’ microphones. Boy, were they ‘warm.’ He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very ‘punchy,’ yet ‘warm.’
“All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies!
“Here is the math that will explain just how fucked they are…”
Albini breaks down how the royalties system then pays the band and concludes:
“The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-Eleven, but they got to ride in a tour bus for a month…
“Some of your friends are probably already this fucked.”
Albini went on to record, engineer and produce Nirvana’s In Utero. He was paid a flat fee of $100,000. Still, he offered to produce it for free if Cobain, Grohl or Novoselic could beat him in a game of pool.
“Anyone who’s got the stones to gamble something that large must be amazing [at pool],” said Grohl. “So everyone said no.
“Plus he had his own stick. We didn’t want to fuck around with that.”
RIP Steve Albini.
Read more music tech news.
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Apple Logic Pro 11 incoming The latest versions of Logic Pro and Logic Pro for iPad include virtual bass and keyboard players, built-in stem separation and a new ChromaGlow saturation plug-in.

Tencent Music’s AI-powered tech can ‘predict the next hit song,’ and 5 other things we learned from its latest annual reportTME is also facing 695 copyright infringement lawsuits, and it's negotiating a 10% stake in an 'overseas entertainment company'
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