Planned Amazon data center could become the biggest climate polluter in the U.S.As part of a planned Texas data center, Amazon is investing in an on-site power plant that could reportedly become the largest source of climate pollution in the United States.

Bitcoin’s BIP-110 enters mandatory signaling with miner support below 3%The deployment milestone tests whether enforcing nodes can sustain the change amid limited miner signaling and discussion of a hard-fork fallback.

Grading Tomatoes with an ESP32 and MLIf you’ve ever worked with produce, you might know about grading. In addition to deciding if, say, a strawberry is good or not, they also have to sort them by color. Turns out, you don’t care if one package of berries is a bit redder than another, but you do care if one package has too much color variation. [Pmalfa31] applied an ESP32 and machine learning to grading tomatoes.
The system knows in advance if you are processing standard tomatoes or cherry tomatoes and uses two different sets of learned data depending on which you select. The program receives raw data from an optical sensor and then processes it to remove empty belt images, compute statistical information, and group readings for a single fruit together.

One thing we liked was the program’s heuristic checking of validity. It knows the approximate size of the tomato, so the code notes if the fruit seems too big for a cherry tomato or too small for a standard tomato. This reduces, but doesn’t eliminate, miscategorizations.
The code is a stack hog, so the program has to request a much larger stack. If you want to try it yourself, there is a simulator on the web available, so you don’t even need any hardware or tomatoes to try it.
Computers have lots of uses on a modern farm.

Delos DSP Vocal LabsNote : VOCAL LABS remains under active development. The current build is a free public demo rather than a final commercial release, with engine optimization, balancing and workflow refinements plus new modules and interface pages planned across upcoming versions. If you like this version, reach out to us through our website for full access — we'll send you a serial key for free. https://delosdsp.com/contact As an independent development studio, we regularly need support across a wide range of disciplines. Whatever your field, you're welcome to contact us if you're interested in joining our testing community or collaborating on project-based work. https://delosdsp.com/jobs Overview VOCAL LABS is a modular vocal channel strip built around two independent five-module racks and a shared output stage, rather than one fixed signal chain. Gate, EQ, De-Ess, Comp, Warmth, Bitcrusher, Reverb and Delay are available as separate modules — drag only the ones a given vocal needs into either rack, in whatever order the chain calls for, instead of managing eight separate plugin instances. Gate is a stereo-linked downward expander with its own sidechain key filters. EQ covers five bands — HP, Low Shelf, two sweepable Bells and High Shelf — sized for channel-strip work rather than corrective surgery. De-Ess drives its detector from a band-passed copy of the input, so reduction stays confined to the sibilant range instead of ducking the whole signal. Comp is a single feed-forward VCA circuit with a split waveform display. Warmth applies symmetric tanh saturation blended by amount, and Bitcrusher — the one module built to make a vocal sound worse on purpose — combines bit-depth crush, sample-and-hold downsampling and a narrowing band-pass for lo-fi character presets. Reverb runs true stereo convolution from 19 curated impulse responses across Plate, Chamber, Room, Hall, Ambience and Space categories, rather than an algorithmic model. Delay runs tempo-synced or free-running, with tap tempo, ping-pong cross-feed and a damped feedback path that darkens with every repeat. A final Main Output stage — vintage VU meter and trim gain — sits after both racks, ahead of the host's own fader. Twenty genre-built factory presets configure a complete chain, not just one module, and the whole rack — every module, every setting — saves and recalls as a single user preset. VOCAL LABS also runs as a standalone application, independent of a DAW, for processing a vocal chain live through an audio interface rather than only inside a session. Key features: Two independent five-module racks plus a final Main Output stage. Eight modules: Gate, EQ, De-Ess, Comp, Warmth, Bitcrusher, Reverb and Delay. True stereo convolution reverb — 19 curated spaces across six categories. Tempo-synced delay with tap tempo and ping-pong cross-feed. 20 genre-built factory presets, plus whole-chain user preset save/recall. Standalone application for DAW-free, live vocal processing. Vintage VU metering and final trim gain at the output stage. Formats Stereo signal path throughout · Host-negotiated stereo bus configuration · AU · VST3 · Standalone · Unity · macOS (Apple Silicon and Intel) and Windows. More Info & User Manual https://delosdsp.com/manuals/delos-vocal-labs-manual.pdf Read More

OA-Labs releases Phosphor-1, a FREE unstable analog-style synth for macOS
OA-Labs has released OA-Phosphor-1, a free virtual analog synthesizer plugin for macOS. The developer describes it as a synth for “controllable instability,” and I think it’s a good fit. Phosphor-1 can deliver the typical subtractive type of stuff too, but the fun, for me at least, starts when you make it drift, sag, wobble, and [...]
View post: OA-Labs releases Phosphor-1, a FREE unstable analog-style synth for macOS

SynthEdit 1.6 adds native macOS support after decades on Windows
Jeff McClintock has released SynthEdit 1.6, a major update to the modular plugin development environment. The big headline here is that SynthEdit now finally runs natively on macOS. After decades as a Windows-first tool, it can now export 64-bit VST3 plugins for Windows and macOS, plus Audio Unit plugins for macOS. When I started making [...]
View post: SynthEdit 1.6 adds native macOS support after decades on Windows

Roland celebrate 808 Day For this year's 808 Day, Roland are partnering with global radio platform NTS, bringing back their award-winning The Rhythm Creators series and continuing a worldwide celebration of the 808’s enduring legacy and cultural impact.

IK Multimedia launch Tonex 2.0 beta Available now to all current users, the Tonex 2.0 beta introduces deeper ToneNET integration, an expanded library of up to 220 new Premium V2 Tone Models and a completely redesigned interface that makes it easier than ever to find, edit and organise sounds. 

Donald Trump’s media company to terminate Crypto.com dealThe president’s company will unwind an agreement with Crypto.com to create a multibillion-dollar CRO treasury and reportedly not integrate prediction markets onto Truth Social.

After Rippling blew millions on AI in months, it built an employee ROI toolAfter its own AI usage wake-up call, Rippling this week unveiled AI Spend Console, a product that tracks individual and team employee AI spending.

Inside Big Phat Pod: Preserving Gordon Goodwin’s Legacy One Story at a TimeBehind a massive soundproof door in an otherwise unremarkable industrial park in Burbank, a remarkable effort is underway to preserve and expand the legacy of one of contemporary music’s most celebrated creative forces. Inside the production facility The Dreaming Tree,  session singer, vocal contractor, educator and longtime Big Phat Band singer Vangie Gunn-Goodwin and her co-host, award-winning composer, arranger and producer Andrew Kesler, have transformed a podcast studio into a vibrant living archive celebrating Gordon Goodwin’s music, career and enduring legacy. It’s also become a vibrant gathering place for an extended musical family.

Framed by a giant Big Phat Pod logo and surrounded by shelves displaying Big Phat Band albums, memorabilia and several of the four Grammy Awards Goodwin earned from 25 nominations during an extraordinary career, the pair are creating a series devoted not only to the acclaimed composer, arranger and bandleader’s music, but also to the stories, friendships, creative partnerships and personal experiences that shaped it over decades. Critical to bringing that vision to life is Kesler, whose friendship with Gordon stretches back years. An accomplished composer, arranger and producer, he first connected with Goodwin through recording projects and holiday collaborations before becoming one of his close creative allies. Combining deep musical knowledge with an obvious affection for Gordon’s work – and a self-described “Gordon nerd” – Kesler serves as the perfect counterpart to Vangie’s warmth and natural storytelling. Their easy rapport and shared passion for Gordon’s music give Big Phat Pod the relaxed chemistry that makes every conversation feel less like an interview than a reunion among lifelong friends.

While the podcast emerged following Goodwin’s passing in December 2025, the idea itself originated with Gordon. About six months before his death, podcast producers approached Gordon and Vangie about creating a series devoted to his music, career and creative process. The concept immediately appealed to him because it felt like a natural extension of Phat Tracks with Gordon Goodwin, the nationally syndicated radio show (out of KKGO Los Angeles and later KSDS San Diego) he hosted from 2017 until illness forced him to step away. Listeners discovered that beyond his brilliance as a composer and arranger, Gordon possessed a rare gift for storytelling. Whether discussing Count Basie, Earth, Wind & Fire or Jacob Collier, he consistently elevated the listening experience by explaining where the music came from, why it mattered and who helped bring it to life. “He would tell you why a song was important, who played on it and what made it special,” Vangie recalls. “Then when you heard the song afterward, you appreciated it on a completely different level.”

Before the podcast could begin, however, life intervened. Gordon and Vangie were balancing tours, performances and the recording of what would become his final studio album with the Big Phat Band, 25 Years of Phatness. Featuring fresh originals alongside reimagined versions of fan favorites including “Hunting Wabbits,” “The Jazz Police” and “Sing, Sang, Sung,” the project captured the ensemble at full creative strength. Shortly afterward, Gordon was diagnosed with pancreatic cancer.

Looking back now, Vangie views the completion of that album as something close to miraculous. “We got it done just in time,” she says. “When I listen to that album now, I hear Gordon’s joy. I hear his optimism. I hear everything that made him who he was.” After treatment, a brief return to daily piano playing and encouraging signs of improvement, Gordon suffered a massive hemorrhagic stroke shortly after Thanksgiving 2025 and passed away on December 8.

For a time, the podcast naturally faded into the background as Vangie navigated grief and the overwhelming responsibilities that follow the loss of a spouse. Then one afternoon, while driving home from Disneyland, where she teaches vocal workshops, she found herself thinking about the upcoming release of 25 Years of Phatness and wondering how best to continue sharing Gordon’s music with audiences around the world. The answer arrived suddenly.

The podcast idea returned with remarkable clarity. Entire seasons began forming in her imagination, with each one devoted to a specific album, era or chapter in Gordon’s career. Individual episodes could focus on particular songs, recording sessions, musicians, engineers and collaborators. “The stories were already there,” she says. “The music was there. The relationships were there. It just needed somebody passionate enough to bring it to life.”

Observing a recording session reveals that Big Phat Pod is far more than a conventional interview program. On the evening I attended, saxophonists Brian Scanlon, Danny Kaneyuki and Alex Hahn, front-of-house engineer Ryan Mowrey and acclaimed percussionist Brian Kilgore rotated through the guest chairs as Vangie and Kesler guided conversations that felt equal parts oral history, educational seminar and reunion among old friends. Excerpts from 25 Years of Phatness and classic Big Phat Band recordings filled the room as solos were isolated, analyzed and celebrated. The format allows listeners to move beyond simply hearing the music to understanding how it was conceived, performed and experienced by the artists themselves.

One particularly spirited discussion centered on “Hunting Wabbits,” perhaps the composition most beloved by both audiences and student musicians. Scanlon praised Gordon’s Christmas charts and vocal arrangements, prompting Vangie to float the idea of a future holiday concert devoted to that side of his writing. What made the conversations so compelling was the way they effortlessly moved between technical observations and personal memories. It was a brief exchange, but one that perfectly captured the cross-pollination of ideas and mutual respect that define the band.

Perhaps the most revealing aspect of the evening was the extraordinary camaraderie among the musicians. As solos played through the studio monitors, band members cheered each other’s performances, laughed at old stories and openly celebrated one another’s accomplishments. Watching these interactions made it easy to understand why the Big Phat Band has maintained such a distinctive identity throughout its 26-year history. While the ensemble has always been known for technical excellence and astonishing musicianship, the chemistry among its members is equally essential to its success.

To Vangie, that spirit is no accident. Many of the musicians have known one another for decades, while younger members grew up playing Gordon’s charts in school before eventually joining the ensemble themselves. Gordon intentionally cultivated that multi-generational atmosphere, believing that mentorship and continuity were essential to the band’s future. The result is a culture where younger musicians sit alongside artists they admired as students, creating a unique blend of reverence, friendship and artistic challenge.

The evening also underscored Gordon’s appreciation for the people working behind the scenes. One of the longest and most fascinating segments focused on Ryan Mowrey, whose responsibilities extend far beyond traditional front-of-house engineering. Technical director and audio specialist Mowrey occupies a role that many audience members never see but every successful performance depends upon. Vangie described him as the guy constantly looking out for everyone around him, while Kesler joked that he might be the most important member of the entire organization.

Future episodes will continue expanding the lens beyond performers. Engineers, mixers and production personnel all have stories to tell, and Big Phat Pod intends to tell them. Talley Sherwood, who engineered 25 Years of Phatness, longtime mix engineer Tommy Vicari, and the team behind the album’s Dolby Atmos mixes (Steve Genewick and Maurice Patist) are all expected to share their perspectives in future installments.

Another important figure behind the scenes is producer Cindi Garren, whose involvement carries its own emotional resonance. Garren is the widow of saxophonist Kevin Garren, who spent approximately 15 years performing with the Big Phat Band before his passing in 2021. Her participation further strengthens the sense that Big Phat Pod is being created by people whose lives have been deeply intertwined through Gordon’s music and the community that grew around it.

Of course, any discussion of Gordon Goodwin eventually leads to the astonishing breadth of his accomplishments. Beyond building the Big Phat Band into one of the most influential large jazz ensembles of the modern era, he enjoyed a prolific career as a composer, arranger and orchestrator. His four Grammy Awards, three Daytime Emmy Awards and 25 Grammy nominations only begin to suggest the scope of his influence.

Yet listening to the stories shared throughout the podcast, one quickly realizes that awards alone don’t reflect the affection so many people continue to feel for him. Again and again, conversations return to themes of generosity, optimism, mentorship and friendship. The stories that resonate most are not about trophies or accolades but about Gordon encouraging younger musicians, creating opportunities for others and maintaining relationships that lasted decades.

The confidence he placed in Vangie speaks volumes about their partnership. Following his diagnosis, he asked whether she would consider carrying the Big Phat Band forward if necessary. Her answer was immediate. “Absolutely. It would be my honor.” By that point she had become far more than the band’s featured vocalist. She managed countless responsibilities behind the scenes. Gordon often joked that she somehow managed to take care of everyone else before stepping onstage and transforming into the performer audiences knew and loved.

That combination of leadership, empathy and energy also prepared her for hosting Big Phat Pod. Beyond her extensive career as a vocalist and contractor, she has spent decades teaching singers, directing ensembles and helping artists develop confidence and authenticity. Those experiences taught her how to put people at ease and create environments where meaningful stories emerge naturally. Some musicians, she notes, are far more comfortable playing a difficult solo than discussing it afterward. One of her greatest strengths as an interviewer is helping guests relax enough to share memories that might otherwise remain untold.

Asked what Gordon would enjoy most if he could walk onto the set today and watch an episode being recorded, Vangie’s answer comes without hesitation. It would not be the microphones, the memorabilia or even the discussions about his music. It’s all about the relationships, the friendships, the musicians laughing together, sharing stories and celebrating one another’s accomplishments. Those connections, forged through decades of collaboration and strengthened through mutual respect, are ultimately what the podcast preserves most powerfully.

When the conversation turned to what she hopes future listeners ultimately understand about Gordon, she doesn’t mention awards, recordings or professional accomplishments. Instead, she speaks about character: “That his music was such an integral part of his DNA that it expressed who he was at his core—a man of character, loyalty, vision, love, joy, energy and hope.” As the stories continue to unfold and new generations discover the music, Big Phat Pod ensures that both the legacy and the man behind it remain very much alive.The post Inside Big Phat Pod: Preserving Gordon Goodwin’s Legacy One Story at a Time first appeared on Music Connection Magazine.

Hacking a $6000 Cotton Candy Machine to Fully Control ItHaving a fully automated cotton candy vending machine in your possession is a great thing, but not if you do not have full access to its software. With [Block’s Retro Repairs] getting ghosted by the manufacturer on regaining account access to the machine he bought used for $300, there was little left but to try and break into the system.
We previously covered the journey in getting the vending machine back into a state where it’d actually reliably produce cotton candy again, a process which is quite tedious and temperamental. After a lot of fiddling with sensors and temperature settings this was fixed, but still left the issue that as a vending machine it should allow the owner to set prices and such. Sadly this could only be done remotely via a special account, which access to had been left with the previous owner.
Despite the very custom exterior, the vending machine runs what is effectively an Android system, consisting of an industrial computer board wired into a lot of stepper drivers and other control boards. To the extreme delight of everyone involved, it was possible to access the Ct Terminal application with adb and its product database on the device’s storage. Unfortunately writing back a changed database file didn’t change anything in the UI, so for a few months the project languished.
After nearly bricking the system and ending up factory resetting the control software including temperatures, it actually improved the performance of the machine and produced cotton candy, so that was one win. Ultimately the solution was to modify the original app, but a combination of weak coding skills and the app being in Chinese  led him to use free LLM coding chatbots to assist here.
This resulted in a custom settings menu being added with the ability to modify pricing, no need for online access any more and a very nice cotton candy vending machine for the private arcade where presumably friends and family can enjoy cheap or even free cotton candy. Finally having the machine sealed against ant intrusion was also a major improvement.

THEATRE BLACMAGIC Reverb MachineDive deep into the dark arts of sound design with our new multi-engine reverb machine, BLACMAGIC. With a single, optimized interface across 7 unique reverb engines, BLACMAGIC is the perfect tool for conjuring dark, otherworldly sounds quickly. Read More

From Suno’s vinyl move to Spotify’s ‘fan-made’ Merlin deal… it’s MBW’s Weekly Round-upThe biggest headlines from the past few days...

Source

Sound Radix releases Radical1 Solo, a FREE additive synth plugin
Sound Radix has released Radical1 Solo, a free monophonic additive synth plugin for macOS and Windows. I have not heard much from Sound Radix about new products in a while, but that is on me, since the company introduced Radical1, its first instrument plugin, in late 2025. The original Radical1 entered early access on macOS [...]
View post: Sound Radix releases Radical1 Solo, a FREE additive synth plugin