Safari Pedals & Karanyi Sounds offer Hawk Phaser plugin FREE for a limited time
Safari Pedals has teamed up with Karanyi Sounds to offer the Hawk Phaser plugin completely free for a limited time. Normally priced at $49, you can grab it right now using the code KARANYIHAWKFREE at checkout. The Hawk Phaser is a vintage-style modulator designed to deliver everything from gentle, shimmering movement to deep, swirling textures. [...]
View post: Safari Pedals & Karanyi Sounds offer Hawk Phaser plugin FREE for a limited time

Segger’s Awkward USB-C Issue With the J-Link Compact DebuggerTheoretically USB-C is a pretty nifty connector, but the reality is that it mostly provides many exciting new ways to make your device not work as expected. With the gory details covered by [Alvaro], the latest to join the party is Segger, with its J-Link BASE Compact MCU debugger displaying the same behavior which we saw back when the Raspberry Pi 4 was released in 2019. Back then so-called e-marked USB-C cables failed to power the SBC, much like how this particular J-Link unit refuses to power up when connected using one of those special USB-C cables.
We covered the issue in great detail back then, discussing how the CC1 and CC1 connections need to be wired up correctly with appropriate resistors in order for the USB-C supply – like a host PC – to provide power to the device. As [Alvaro] discovered through some investigation, this unit made basically the same mistake as the RPi 4B SBC before the corrected design. This involves wiring CC1 and CC2 together and as a result seeing the same

Alex Norström has a long to-do list as Spotify’s new co-CEO. Here’s what’s on it.Alex Norström will become Spotify's new co-CEO alongside Gustav Söderström in January 2026, as Daniel Ek steps into an Executive Chairman role
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P DI & 73 DI from Heritage Audio Heritage Audio’s latest announcement introduces two new single- and dual-channel DI box designs and brings a total of four new products to their hardware range.

Eventide Temperance LiteTemperance Lite represents the next step for reverb technology, offering a new approach to shape ambiance. It responds to the language of music, encouraging you to explore reverb in a new way. Unlike a traditional algorithmic or convolution reverb, Temperance Lite lets you control reverb resonances using the familiar 12-note chromatic scale. This allows you to choose which notes bloom or wither within your chosen space, creating musical ambiances that were previously unattainable. Modal Reverb Technology Imagine a room filled with thousands of tuning forks, each tuned to a different frequency. What if you could control the loudness and decay of each one? Temperance models reverberant spaces as thousands of independent resonances (modes), all adjustable in real time. While convolution reverbs capture a space in a single snapshot, Temperance builds it piece by piece, letting you shape how each mode decays or resonates. Features World-Class Spaces: Bright Room, Large Studio, Synthetic Space. Radial Note Selection Buttons let you choose which notes to emphasize or de-emphasize. 15 Factory Presets including 5 Tutorial presets to get you going. NoteScape Visualizer displays the emphasized and de-emphasized notes sustaining and decaying, visually mapping the musicality of the reverb. Mix, Decay, Pre-delay and Size controls function as expected for intuitive workflow. Low latency suitable for tracking and real-time performance (YouTube.com/watch?v=eEEej1WJM4o Read More

Global Recorded Music Revenue Grew to $18.3 Billion USD in the First Half of 2025New data from MIDiA shows the global music market grew by 5.9% in H1 2025, but a slowing rate of growth from H1 2024.
The post Global Recorded Music Revenue Grew to $18.3 Billion USD in the First Half of 2025 appeared first on Hypebot.

DJs Can Now Seamlessly Cue Songs in Spotify Using SeratoSpotify and DJ tool Serato's new integration allows DJs to access entire libraries and playlists, and effortlessly mix songs from Spotify within supported DJ software.
The post DJs Can Now Seamlessly Cue Songs in Spotify Using Serato appeared first on Hypebot.

Plugin Boutique Offers SSL Native X-Saturator for only €8.47 (83% OFF)
Solid State Logic’s SSL Native X-Saturator is currently available at Plugin Boutique for just €8.47 (83% off the regular price of €50.82) until October 15th. If you’ve ever wanted SSL’s take on saturation for less than the price of a pizza, now’s your chance. That said, with so many saturation plugins around, is a good [...]
View post: Plugin Boutique Offers SSL Native X-Saturator for only €8.47 (83% OFF)

Genelec introduce 8380A SAM mid-field monitors The latest arrival to Genelec’s SAM (Smart Active Monitor) range join the flagship 8381A, and promises to deliver precise imaging and natural sound reproduction that's suited to medium-sized recording, mixing and mastering studios. 

Get Usynth Euphoria for only $1 at Plugin Boutique, but the offer expires VERY soon
UJAM’s Usynth Euphoria virtual instrument is currently just $1 at Plugin Boutique with the coupon code NOTOPIRACY01, but you’ll need to be quick, because this deal could end at any moment. Normally priced at €49.99, Usynth Euphoria is part of UJAM’s streamlined Usynth series, which aims to make synth programming accessible without stripping away customization features [...]
View post: Get Usynth Euphoria for only $1 at Plugin Boutique, but the offer expires VERY soon

Quietformat releases the Auralis effects series for macOS and Windows (includes two FREE plugins)
The Auralis Series is a collection of six plugins designed by Quietformat to add depth, movement, and character to any sound. The collection is available at a special introductory price of $29.99 until October 10, 2025 (usually $49). Individual plugins are available for $14.99 each during the introductory sale (usually $24.99), and if you’d like [...]
View post: Quietformat releases the Auralis effects series for macOS and Windows (includes two FREE plugins)

Audient’s ORIA Mini review: A giant leap for hardware-hosted room EQ and monitor controlStarting at £249 / $299, audient.com
Audient’s full-size ORIA audio interface and monitor marked a turning point for the British brand in 2024. It’s revered for its audio interfaces and analogue mixing consoles, with increased investment in software control and onboard digital signal processing (DSP). ORIA handles immersive audio and comprehensive monitor control in an intuitive app, plus Sonarworks integration to calibrate the various monitor speakers.

READ MORE: Audient’s ORIA is the Atmos interface that engineers have been waiting for

Now we have an ORIA Mini. Mini distills the room EQ and monitor control functions of the original ORIA into a stereo package to use alongside your existing audio interface. Since it runs the room EQ on an internal DSP chip, it solves a lot of frustrations associated with running EQ in the software realm. These include excess latency, crashes, and significant annoyance with room correction plugins that don’t have system-wide audio routing (these need to be put on the mix bus and then bypassed when rendering a stereo mix).
ORIA Mini’s most obvious competitor is IK Multimedia’s ARC Studio, which has a £250 street price for the full hardware/software package. On the room EQ side, this is a similar system to ORIA Mini, with interface main outs routed through the box, and room EQ run in ARC Studio’s DSP using IK’s ARC system. ARC Studio is priced lower, but there’s only a single EQ profile stored on the box, there are no monitor controller functions, inputs are analogue only, and there’s no easy way to add a subwoofer to your system.
ORIA Mini overcomes all these issues and more; it might just be a must-have for your studio.
Image: Press
What connections does ORIA Mini have?
ORIA Mini is a neat desktop box that’s 1U in height and just under a 1/2-rack in width. Powered by its USB-C connector, it won’t add to your sprawling collection of external power supplies.
Analogue inputs and outputs are on balanced jacks – you connect your interface main outs to the inputs and your studio monitors to the outputs. There’s also an S/PDIF digital in, so if your interface has a digital out you can get audio to ORIA Mini without having to use its analogue-to-digital converters; a neater, cleaner signal path. Plugging your interface into the digital input means the analogue inputs are then freed up for something else — an aux input from a laptop headphone output, for example. You can simply switch between inputs in the ORIA Control software. A single subwoofer jack output is also present – more on that later.
The front panel is refreshingly uncluttered, with just four LEDs to indicate profile selection, simple meters to show audio activity/clipping, and a ring-illuminated Profile button, which is used to toggle between profiles but also controls bypass and standby mode with press and hold gestures.
iPad remote control. Image: Press
Getting started with ORIA Mini
The complete bundle — on review here — is highly recommended since you get an ORIA Mini, a Sonarworks measurement mic, plus Sonarworks licenses including SoundID Reference for Speakers & Headphones. ORIA Mini doesn’t have a headphone socket (plus Sonarworks Integrations don’t tend to include headphone support in any case), but when you’re away from your studio and plugging straight into your laptop, you can use SoundID Reference to apply corrective EQ to your favourite headphones, making mixes more transferable to other systems. An unexpected bonus.
There are alternative bundles for users who already have a SoundID Reference license, plus a Hardware Only option for those who prefer to calibrate their system using manual measurements.
When working with a pair of monitors and no sub, Sonarworks set-up is pretty much the standard fare; plug the included measurement microphone into a mic input on your interface, turn on phantom power and follow the instructions. The SoundID Reference measurement app emits various test signals through the monitors and gets you to place the microphone at several locations in the room, employing clever, clicky triangulation signals to find the right spot. Once measurement is complete you connect ORIA Mini using USB, open the measurement’s corrective EQ calibration in the SoundID Reference app and export it to ORIA Mini.
In the ORIA Control desktop app the Sonarworks EQ calibration can be saved into a new Profile within the unit’s DSP chip. ORIA Mini cycles between four favourite presets on the hardware, but you can store up to 32 different profiles that can be promoted to the top four at will. Alternatively, per-channel manual EQ is also possible, but this is limited to eight bands.
In addition to room EQ, ORIA Control features prominent level meters, plus a range of handy monitor controls such as main volume, channel solo/mute, dim, mono, polarity flip, plus trim, delay and crossover settings for each channel. iPad remote control of the app is available and is a breeze to set up. There’s an ORIA plugin for Stream Deck too. (If you haven’t yet used a Stream Deck, you’re really missing out..)
The ORIA Control desktop app with a Sonarworks room EQ calibration loaded in. Image: Barry Watson
Going deeper with ORIA Mini
To add a subwoofer, ORIA Mini takes the incoming stereo input and outputs it to the stereo outs and Sub out using bass management; the sub here isn’t fed by a dedicated output on the audio interface like in surround setups. Bass management essentially high-passes your main monitors at a set crossover frequency so they no longer have to manage ultra-low frequencies, instead leaving those frequencies for the sub. Apart from deeper bass extension there’s also the advantages of reduced chances of distortion and port resonances from the main monitors, plus less bass build-up due to monitors being placed close to walls.
The set-up is a little more involved here. The first step, before running any Sonarworks measurement, is to plug the monitors and sub into ORIA Mini and engage the crossover to high-pass the left/right speakers in ORIA Control. Next, you re-run the Sonarworks measurement process with ORIA Mini inline and the sub turned on. Sonarworks produces a new stereo calibration file which can be exported to ORIA Mini with an identifying name, e.g, ‘Sub on’. You then leave alone the settings on the sub and ensure that the crossover on the main L/R speakers is set to the same frequency as in the measurement process.
There’s loads of flexibility here. You can start by measuring a standard stereo setup without a sub, and then run through the process above to create a Profile with the sub and bass management in the chain (you’ll need to make sure the Sub out is muted on all Profiles that don’t use the subwoofer). Then you have a simple way of switching between a studio/domestic’ listening system and one that approximates the sound of your track played through a club system, all with calibrated EQ and channel trim/delay time.
This is a big deal. Most affordable monitor controllers don’t feature a way of integrating a sub unless it’s permanently placed inline with the main monitors, which means you also need a sub that can handle bass management internally. In this situation there’d be no calibration of level or EQ and you wouldn’t be able to easily switch between listening to your monitors in full range versus high-passed monitors with bass extension and sub enabled. Putting this in context, bass-managed monitor controllers from the likes of Grace are 10x the price of ORIA Mini.
Image: Press
What’s ORIA Mini like to use?
ORIA Mini is a joy to use. I soon wonder how I managed to get things done efficiently before it arrived. I swiftly get accustomed to reaching for the iPad app instead of the volume knob on my audio interface since far more control is easily at hand.
Better still, after setting up a custom Stream Deck layout for my most-used functions, I’m able to work even more efficiently, relishing the convenience of hardware control and not having to shift focus on screen. A brief listen in mono and a translation check on (virtual) phone speakers are both really immediate yet crucial quality control checks that I might otherwise avoid if I have to switch apps and perform multiple mouse clicks before switching back to the DAW.
The ORIA Control profile running on Stream Deck. Image: Barry Watson
Speaking of translation checks, this is an aspect where ARC Studio has the upper hand. Since Studio is controlled directly by IK’s ARC app, you can quickly load virtual monitoring over the top of the room EQ, and change the target curve at the press of a button (e.g. having a target curve with full high-mids for critical listening, and a less fatiguing, scooped-mids target curve for general listening).
With ORIA Mini, since Sonarworks calibration is fixed once loaded into DSP, you need to, using SoundID Reference, export each and every translation check and version of the target curve as separate profiles for ORIA Control. But I personally don’t necessarily see this as a negative. I’d rather select a couple of different target curves and a few crucial translation checks, export them to ORIA Mini, and then proceed to work without the novelty and distraction of checking my mix on 20 different systems.
The measured response of my studio monitors with the smartphone speaker Translation Check added on top. Each different Translation Check or target curve needs to be exported as a new ORIA Control profile. Image: Barry Watson
Should I buy ORIA Mini?
ORIA Mini is essential for anyone frustrated with software room EQ or buried monitor controller functions. The Complete Bundle is a standout bargain—arguably the best £379 you’ll spend on your studio.

Key features

Room EQ system and monitor controller with Sonarworks integration
For stereo monitors, with/without subwoofer
Bus-powered via USB-C
Near-zero latency
4 switchable calibration profiles toggled from the hardware / 32 profiles can be stored in total
ORIA Control app for desktop
Volume, channel solo/mute, dim, mono and polarity reverse switches in software
18-band EQ Sonarworks calibration / 8-band manual calibration
Remote control via iPad app and Stream Deck
Delay time, output trim and crossover frequency (bass management) controls per channel
Stereo TRS jack inputs and outputs
Optical S/PDIF digital input (supports 44.1 kHz to 96 kHz sample rates)
Single TRS jack subwoofer output
Further profiles available in control software
Signal status LEDs
Dynamic range: ADC 122.5 dB(A) / DAC 127 dB(A)
Max input / output level: +18 dBu
Comes with USB-C cable

 
The post Audient’s ORIA Mini review: A giant leap for hardware-hosted room EQ and monitor control appeared first on MusicTech.

The FTC Sues Live Nation and Ticketmaster – NIVA RespondsThis week, Ari is joined by Stephen Parker of NIVA to discuss the FTC’s lawsuit against Live Nation and Ticketmaster.

Roland TR-1000: 40 years after the TR-808 and TR-909, the brand’s first analogue – and most powerful – drum machine has landedWell, it actually happened. More than four decades after the TR-808 and TR-909 rewrote the rulebook on rhythm, Roland has launched a brand new analogue drum machine: the TR-1000 Rhythm Creator.
Built with and for artists to “catalyse the next evolution of rhythm culture”, the TR-1000 fuses analogue circuitry, modern digital sound engines, and a performance-focused user interface into one hulking groove factory.

READ MORE: “It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum Berlin

Roland knows the weight of its legacy. The 808’s boom and the 909’s snap became the backbone of hip-hop, techno, house, trap, and pop itself. The TR-1000 doesn’t just nod to that history – it carries it forward with 16 freshly built analogue voices lifted from those original circuits, but expanded with wider ranges, better dynamics, and velocity response for today’s players.
And that’s just the start. The TR-1000 also packs Roland’s most advanced digital arsenal yet: 21 circuit-bent TR-808 and TR-909 models built with Analog Circuit Behavior (ACB) technology, FM percussion, virtual analogue tones, and a deep PCM library. It also boasts full-blown stereo sampling, 64GB of onboard memory (46GB for your own samples), and over 2,000 built-in sounds. Capture, resample, slice, and time-stretch until your tracks explode.
Credit: Roland
Tone-shaping is equally over the top. There’s a new analogue state-variable filter (SVF) inspired by vintage Roland OTA designs (like the JUPITER-6), a dedicated analogue drive, and, of course, an absolute buffet of digital effects. Each track combines a model-specific sound generator, compressor, multimode filter/four-band EQ, and amp/envelope control. Four of the available tracks allow for two sound generators to be stacked or programmed separately with per-track FX, internal sidechaining, output routing, and a three-target LFO.
Then there’s the sequencer, one Roland calls its “most advanced yet”. Users can program at lightning speed, push rhythms off-grid, and slam the new Morph slider to mangle beats in real time. The snapshot feature, meanwhile, creates playable step buttons that instantly recall any knob position for an instrument.
And yes, the TR-1000 Rhythm Creator built for modern rigs. With flexible I/O, CV integration, analogue FX output, and a slick desktop companion app, the TR-1000 slots into both studio and stage setups with ease.
As you’d expect, all this wizardry doesn’t come cheap: the TR-1000 lands at $2,699.99. Which is quite the price tag, but considering you’re getting Roland’s first analogue drum machine in 40 years plus pretty much every modern production convenience bolted on, it’s about as fully loaded as drum machines get.

Learn more Roland. 
The post Roland TR-1000: 40 years after the TR-808 and TR-909, the brand’s first analogue – and most powerful – drum machine has landed appeared first on MusicTech.

SOL retail longs briefly flushed, but traders’ bullish forecast unchangedSOL late leverage longs got rinsed by the flash crash to $205, but data shows pro traders buying the dip and retail traders opening fresh spot and margin positions.