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
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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.

Tether still dominates stablecoins despite competition — NansenDespite growing competition from emerging issuers, the stablecoin market remains largely dominated by a few key players. According to data from Web3 research firm Nansen, Tether’s USDt continues to lead among US dollar-pegged stablecoins, even as competition intensifies.As of April 25, Tether (USDT) has a roughly 66% market share among stablecoins, compared to around 28% for USDC (USDC), Nansen said in the April 25 report. Ethena’s USDe stablecoin ranks a distant third, touting a market share of just over 2%. Nansen expects Tether’s lead to endure even as rivals such as USDC clock faster growth rates. “With nearly 3x as many users as Uniswap and 50+% more transactions than the next app, Tether is by and far the largest use case of onchain activity,” Nansen said.“Despite the potential dispersion in stables, we inevitably believe this is a ‘winner-takes-most’ market dynamic,” the Web3 researcher added. Tether has 66% of stablecoin market share. Source: NansenTether is also the most profitable stablecoin issuer, clocking nearly $14 billion in 2024 profits. The company earns revenue by accepting US dollars to mint USDT and subsequently investing those dollars into highly liquid, yield-bearing instruments such as US Treasury bills. “Given the growth of USDT and USDC, the users are clearly expressing that they do not necessarily care about the yield as they are forgoing it to Tether and Circle -they simply want access to the most liquid and ‘stable’/ least-likely-to-depeg stablecoin out there,” Nansen said.USDC has seen faster growth than USDT since November. Source: NansenCompetitive landscapeAdoption of USDC has accelerated since November, when US President Donald Trump’s election victory ushered in a more favorable US regulatory environment for crypto, Nansen said. Circle’s US-regulated stablecoin has been “particularly attractive to institutions requiring regulatory clarity,” the report said. But USDC now faces “intensifying competition as major traditional financial institutions (i.e., Fidelity, PayPal, and banks) enter the market,” Nansen said, adding that stablecoins, including PayPal’s PYUSD and Ripple USD, are “rapidly gaining traction.” On April 25, payment processor Stripe tipped plans to create a new stablecoin product of its own after buying stablecoin platform Bridge last year. Despite its smaller market share, Ethena's yield-bearing USDe stablecoin remains “competitive on most fronts moving forward,” partly because of integrations across centralized exchanges (CEXs) and decentralized finance (DeFi) protocols, the report said.Since launching in 2024, Ethena’s stablecoin has generated an average annualized yield of approximately 19%, according to Ethena’s website. Magazine: Bitcoin payments are being undermined by centralized stablecoins

Alibaba unveils Qwen 3, a family of ‘hybrid’ AI reasoning modelsChinese tech company Alibaba on Monday released Qwen 3, a family of AI models the company claims matches and in some cases outperforms the best models available from Google and OpenAI. Most of the models are — or soon will be — available for download under an “open” license from AI dev platform Hugging Face […]

Tinycorder Isn’t Quite a Tricorder, But…The Star Trek tricorder was a good example of a McGuffin. It did anything needed to support the plot or, in some cases, couldn’t do things also in support of the plot. We know [SirGalaxy] was thinking about the tricorder when he named the Tinycorder, but the little device has a number of well-defined features. You can see a brief video of it working below the break.
The portable device has a tiny ESP32 and a battery. The 400×240 display is handy, but has low power consumption. In addition to the sensors built into the ESP32, the Tinycorder has an AS7341 light sensor, an air quality sensor, and a weather sensor. An odd combination, but like its namesake, it can do lots of unrelated things.

The whole thing goes together in a two-part printed case. This is one of those projects where you might not want an exact copy, but you very well might use it as a base to build your own firmware. Even [SirGalaxy] has plans for future developments, such as adding a buzzer and a battery indicator.
This physically reminded us of those ubiquitous component testers. That another multi-purpose tester that started simple and gets more features through software.

Joey Sturgis Tones Bus Glue Andrew Wade VocalsBus Glue Andrew Wade Vocals: Powerful, Present Vocal Bus Processing Introducing Bus Glue Andrew Wade Vocals, the streamlined vocal bus processor that delivers Andrew Wade's renowned approach to creating upfront, powerful vocal productions. This plugin provides the perfect balance of clarity, presence, and character that has defined countless hit rock and metal records. You could be processing lead vocals, harmonies, screams, or backing vocals... it doesn't matter... Bus Glue Andrew Wade Vocals makes your vocals cut through the mix while maintaining their natural emotion and character. VIDEOS WATCH BUS GLUE ANDREW WADE VOCALS IN ACTION Hear It In Action Experience how Bus Glue Andrew Wade Vocals transforms various vocal sources. Listen to Andrew Wade's signature vocal approach across different singing styles and productions. AUDIO DEMOS LISTEN TO BUS GLUE ANDREW WADE VOCALS Features – Achieve Andrew Wade's Vocal Sound Targeted Compression - Consistent, Powerful Vocals Bus Glue Andrew Wade Vocals features a custom Compression knob that's precisely tuned for vocal bus applications. Unlike standard compressors, this processor intelligently manages the complex dynamics of vocals, creating consistency and power without squashing the performance or creating unnatural artifacts. This plugin ensures your vocals maintain the perfect presence throughout your mix. Advanced De-Esser - Tame Sibilance Without Dulling The sophisticated De-Esser with dedicated Listen functionality targets harsh frequencies around 5kHz while boosting midrange presence. Unlike standard de-essers, this processor doesn't just cut - it reshapes the tonal balance to create vocals that cut through the mix without being harsh or fatiguing. The Listen Button allows you to hear exactly what's being processed, ensuring perfect control over this critical parameter. Boxiness Reduction - Eliminate Muddy Resonances The purpose-built Boxiness control targets the problematic midrange area where vocal muddiness often occurs. Unlike standard EQ, this processor intelligently reduces resonances while preserving the natural character of the voice. This single control eliminates the most common vocal mixing problem with minimal effort. Frequency-Selective Exciter - Add Presence and Character The advanced Exciter control adds a predetermined vocal EQ feeding into a saturator, creating enhanced presence and character. Unlike standard exciters, this processor allows certain frequencies to become more saturated than others, creating a unique vocal quality that stands out in the mix without sounding processed or artificial. HFP (High Pass Frequency) - Clean Low End The variable high-pass filter provides precise control over the low-frequency content of your vocal bus. This musically tuned filter eliminates unnecessary rumble and mud while maintaining the body and warmth of the vocals. Perfect for different vocal types and genres, this control ensures your vocals sit perfectly on top of the mix without competing with bass instruments. Saturation Engine - Add Warmth and Density The custom Saturation processor adds harmonics and energy to your vocal bus, creating that elusive "professional" sound that defines hit records. Unlike standard saturation tools, this processor has been specifically calibrated for vocal frequency content, adding warmth and character without harshness or distortion. Use subtle settings for gentle enhancement or push it harder to get some crazy results. Designed for Andrew Wade's Signature Vocal Sound Bus Glue Andrew Wade Vocals encapsulates the exact processing chain Andrew Wade uses to create his renowned vocal sounds on platinum records. Each parameter has been carefully calibrated to deliver his signature combination of clarity, presence, and emotion – the centerpiece of modern rock and metal productions. From Performance to Perfection Bus Glue Andrew Wade Vocals transform good vocal tracks into great performances. By applying Andrew Wade's proven techniques through this specialized tool, you'll achieve vocals that command attention while maintaining their natural character and emotion. Turn your vocals from amateur to pro in just a few clicks with Bus Glue Andrew Wade Vocals' streamlined approach to processing vocals. Saving and Managing Presets Explore Factory Presets: Start with Andrew Wade's own vocal processing settings across different genres and vocal styles. Create Custom Presets: Save your perfectly dialed-in settings for different projects, genres, or vocalists. Share & Download User Presets: Connect with other Bus Glue Andrew Wade Vocals users to exchange settings and techniques. What You'll Get Single-User Perpetual Software License. 3 iLok Activations, no dongle required. Audio Plugin in AAX, AU, & VST3 formats. User Manual. Requirements Mac or Windows computer with supported OS and supported DAW. FREE iLok Account (iLok dongle NOT required - Computer, iLok 2/3, iLok Cloud activation supported), 3 activations provided. Supported DAWs Cubase. Reaper. Pro Tools. Logic. Garageband. Ableton Live. Studio One. FL Studio. Digital Performer. LUNA. Legal Copyright Joey Sturgis Tones. All rights reserved. VST and VST3 are trademarks of Steinberg Media Technologies GmbH. Mac OS X and Audio Unit are trademarks of Apple, Inc. RTAS and AAX are trademarks of Avid, Inc. Windows is a trademark of Microsoft, Inc. Read More

YouTube ad revenues jumped 10.3% in Q1 to nearly $9bnAlphabet's ad revenues could face 'headwinds' in Q2 from the ongoing tariff war between the US and China
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