AES Show 2025 The Audio Engineering Society (AES) have announced that the AES Show 2025 will be taking place between 22 and 25 October 2025 at the Long Beach Convention and Entertainment Center in Long Beach, CA, USA. 

Sounds and Visions: Senon WilliamsSenon Williams, bassist of Cambodian psych-rock outfit Dengue Fever, is also a dedicated visual artist and poet. His atmospheric, text-augmented drawings and luminous, large-scale paintings—along with zines, artist books, and monographs—merge harmony and dissonance, chaos and control, danger and dazzle. And the same dynamic fusion applies to his music. So how did his creative life come to span so many mediums?“I did not go to art school,” Williams says. “When I was a child at punk shows and backyard parties, I didn’t believe school was the education I needed to create art. Later, after working as an art preparator for some amazing galleries and large art moving companies, I worked as an artist’s assistant—not art school, but an art education.”However it started, it’s working out just fine, because Williams is currently in England, en route to the prestigious Freud Artist Residency in Příbor, Czech Republic. Over the next year, he’ll return to England and Europe for exhibitions at the Freud Museums in London and Vienna.He’s also just completed a new monograph, Scrapyard (Hat & Beard Press), which he calls “a facsimile of a scrapbook I created over three years of studio practice.” With 10 historical vignettes by Plain Sight Archive “about the history of scrapbooking,” its fall release coincides with a new short film, Tilt Horizon, which Williams co-directed with filmmaker Tabbert Fiiller. Williams will also host upcoming events at the Philosophical Research Society around his art, poetry, screenings, and books.This is all between tours with Dengue Fever, of course. “We played the Palupo Festival in Thailand, went to Phnom Penh to perform and record with master traditional musicians... the Levitt Pavilion in L.A., Seattle, the Winnipeg Folk Festival, Calgary Folk Festival… and have shows coming up in the fall.” A new album is on the way, plus instrumental and collaborative releases.As if that weren’t enough, Williams is also now playing bass in Acetone. “Acetone stopped playing in the early 2000s when key member Richie Lee passed away,” Senon says. “Due to a massive box release, my old friends Mark and Steve asked me to sit in. We’ve been performing live—during a N.Y.C. residency we played with the wonderful Susan Alcorn and Marshall Allen from Sun Ra Arkestra. Not originally in our plans when we started playing, we’ve since begun working on new material, and can expect a new album down the road.” And what a road it is.The post Sounds and Visions: Senon Williams first appeared on Music Connection Magazine.

Reloop’s RHP-10 Mono is a single-ear lollipop-style headphone for DJsReloop has launched a brand new one-ear, stick headphone for DJs. Available in a standard black or vibrant neon finish, the RHP-10 Mono is “designed for precise monitoring and maximum flexibility”.
The headphone has an ergonomically padded handle with a swivel-mounted ear cup. It hosts a water-resistant ear pad made from soft vegan leather, and is lightweight for comfortable, extended use. Both colours are available now for £59.99.

READ MORE: “The computer case you can’t buy… ‘cause it’s free”: A Teenage Engineering freebie? The Computer-2 is here

The RHP-10 Mono has a 50 mm neodymium driver, which Reloop says “delivers dynamic sound with kick-bass emphasis, making it suitable for demanding DJ environments”. Ideal for quick previewing and cueing on one side of the mix, it can simply be held to the ear or positioned between shoulder and head for use.
The headphone also offers XLR connection with a locking mechanism and coiled 6.3 mm jack cable (1.3 – 2.8 m); a 90 degree angle adapter improves cable positioning. To transport your RHP-10 Mono to gigs, and keep it clean and tidy when not in use, there’s also a vegan leather carry bag included.

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In other headphone news this week, German music gear brand TEILE Elektronik, co-founded by techno artist Rampa, has released its first pair of professional headphones for pro DJs. The K1 headphones arrive after two years of testing and fine tuning, and cost €199.
TEILE states, “We have spent the last two years live testing and fine tuning the K1 headphones with the goal to create the perfect pro DJ headphones. Focusing on the needs of touring DJs, we built loud, clear and punchy drivers into large ear shells, and added a strong clamping force to isolate the beat in loud clubs.”
To find out more about Reloop’s RHP-10 Mono headphone, head over to its official website. 
The post Reloop’s RHP-10 Mono is a single-ear lollipop-style headphone for DJs appeared first on MusicTech.

As India bans real-money games, Dream Sports, MPL start pulling the plugSeveral Indian startups, including Dream Sports, MPL, and Zupee, are shutting down their real-money games after parliament passed a bill banning such games.

US OCC terminates 2022 order targeting Anchorage Digital over AMLThe financial regulator said the bank’s “compliance with laws and regulations does not require the continued existence of the order,” first issued in April 2022.

What is funk? How two James Brown classics define the genre
Learn about the key characteristics, instrumentation, music theory, and more of funk music, as defined by two James Brown classics.

Using the 74HC595 Shift Register to Drive 7-Segment DisplaysIn a recent video our hacker [Electronic Wizard] introduces the 74HC595 shift register and explains how to use it to drive 7-segment displays.
[Electronic Wizard] explains that understanding how to apply the 74HC595 can increase the quality of your projects and also help keep the demands on the number of pins from your microcontroller to manageable levels. If you’re interested in the gory details you can find a PDF datasheet for the 74HC595 such as this one from Texas Instruments.
[Electronic Wizard] explains further that a shift register is like a small one byte memory where its data is directly available on its eight output pins, no input address required. When you pulse the clock pin (CLK) each bit in the eight bit memory shifts right one bit, making room for a new bit on the left. The bits that fall off the right hand side can daisy chain into another 74HC595 going out on pin 9 and coming in on pin 14.

[Electronic Wizard] goes on to extol the virtues of pin 13, the active-low Output Enable, which can be used to make sure junk doesn’t appear on your 7-segment displays during initialization. Also the 74HC595 can provide current itself which lessens the power demands on your micro.
[Electronic Wizard] covers how to use multiplexing to drive multiple 7-segment displays but notes the drawbacks of this method including large pin counts and high frequency flashing which, while invisible to the human eye, can become visible on some cameras and recording equipment making the 74HC595 a superior solution to multiplexing.
The bottom line is that using only three pins from the microcontroller you can drive one or more 7-segment displays. To learn more, including how to use the other pins and features of the 74HC595, be sure to click through to watch the video. If you’re interested in the 74HC595 you might like to read about how the Bus Pirate 5 used two of them to get an extra 16 pins on the board.

Bandsintown inks YouTube deal to become platform’s exclusive provider of concert listingsIntegration will soon expand to YouTube's homepage – and to YouTube Music later this year
Source

Witch Pig StarscraperMicro Pitchshifter / Reverse Delay Click along the bottom row to slide the controls in and out of view. A slight pitch detune on one side and an uptune on the other, will add depth and character to the sound. More extreme settings will result in a chaotic dissonance. Adjust the Delay, Feedback and Mix controls, to set how much Reverse Delay is mixed into the signal. Longer delays and higher feedback settings will work best with single sustained notes. For chords and faster played sections, try using 1/8 or 1/4 Delays, with a lower Mix level. https://www.youtube.com/watch?v=TQ4cuCsDA9s https://www.youtube.com/watch?v=kBYgTRNIyBw Read More

The unflattening of streaming (and the case for friction)This post builds on our January 2025 post ‘The unflattening of music’ which itself built on two previous pieces (you can find links to both in that post).

Industries arrive at pivot points when an accumulation of fissures coalesce into one big crack. Streaming is approaching such a point. We are still at the lots-of-small-cracks-appearing stage, but there is a clear sense of something building. With streaming revenues now representing close to three quarters of the recorded music market (excluding expanded rights), there is clearly an overriding incentive to fix the problem. Simply throwing in the towel and waiting for whatever comes next would hurt both creators and rightsholders. The challenges come from all directions and with different causes (major rightsholders feeling investor pressure; artists struggling to cut through the clutter; royalties not adding up for too many professional artists; music becoming commodified). But the problem is that the people underpinning the entire edifice – consumers – do not have a problem. And that is what needs most attention. 

When Spotify first arrived in the market 16 years ago, it was little more than a vast catalogue of music with a search box. If you didn’t know much about music, you weren’t going to get much out of it. Thus, the first wave of adopters were music aficionados, hastening the demise of downloads, where many were currently spending their money. Fast forward to today, Spotify – and other streaming services – are a dramatically different value proposition, catering not just to those aficionados (or superfans), but also for the passive massive that upgraded from radio and the occasional purchase. Converting so many passives into subscribers was one of streaming’s most important achievements. However, because there are so many more of them than aficionados (six times more in fact), it is only natural that streaming’s UX has prioritised their needs. This, in turn, has helped hasten the commodification of music. 

The great economic paradox of streaming is that it does not differentiate between aficionados and passives, charging them the same fee for the same product. Little wonder then, that aficionados have shifted their extra spend to live and merch. If the supremium tier does eventually make it to market, it will go some way to addressing this. But it will not be enough on its own – and may well come across as an unusual and out of place appendage to the standard streaming proposition. What’s more, there are signs that Gen Z are not warming to streaming like they should be, with 16-19 penetration growing FAR more slowly than other age groups. What links these two challenges is the fundamentally flat nature of Western streaming UX. That needs to change.

So much of streaming’s success was built on the digital era’s superpower: convenience. Yet it is that very thing that has driven cultural commodification. While convenience may have disrupted the economics of things like taxis, online shopping and food delivery, it has undoubtedly improved the experience. Rides have got better; home delivery has got better. With music however, convenience has improved the experience for some (passives) but lessened it for others (aficionados). Fandom did not catch the streaming bus. To address this, streaming UX needs to change.

The case for friction

As counter intuitive as it may sound, streaming has become too convenient. It needs some friction. Friction is not inherently a bad thing. Done right, it can lead to a sense of satisfaction and personal reward. Think about where friction-with-reward exists in our life: learning a new skill, fitness training, reading a long book. The games industry even turned friction into a product.

Music discovery used to be a high-friction experience. Fans would trawl through (often pompous) music reviews, tune into their favourite DJ’s radio show on a late weeknight, and / or wade through endless shelves of albums in stores, perhaps being fortunate to get a surreptitious recommendation from the person behind the till. Many would say it is entirely a good thing that those are the features of a bygone era (though obviously not music journalists and record shop owners). But as is so often the case, it is the generation that comes after the first wave of adopters that can see what is missing from the new era. This is why, with streaming personalisation better than it has ever been, waves of Gen Z are busy crate digging in record shops. The sense of personal reward they get from finding a gem is simply not paralleled by streaming.

Streaming UX needs to learn how to introduce friction, but crucially only for those who want it, when they want it. The majority of people – even aficionados – want a friction-free experience most of the time. The opportunity is to create invitations to do more. The music industry bemoans the shift from lean in to lean back. Now is the time for dive in.

Crucially, this needs tying to identity, because that is central to the reward. For example, when someone spends time doing whatever the streaming equivalent of crate digging might be, they get a ‘hidden gem’ badge which goes on their profile page (it is perplexing that we still don’t have public user profile pages on streaming). Much as I am loathe to use the G word, gamification will be part of the equation. Music is meant to be entertainment. Listening to a work out playlist in the gym or a lo-fi study playlist is not entertainment, that is distraction. 

Bringing back friction will not solve all of streaming’s problems. No single thing will, but it will finally start to push back against the overwhelming trend of flattening. A whole slate of interconnected solutions will be needed for streaming’s other problems. The good news is that MIDiA is currently working on a major new report that will propose just that. The humbly titled ‘Future of streaming’ report will be arriving in the coming months. Watch this space!

Ted Fletcher 1938–2025 Ted Fletcher, the pioneering engineer and designer behind iconic audio brands such as Alice, Joemeek, tfpro and Orbitsound, has sadly passed away.

“It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum BerlinElectronic music pioneer Paul van Dyk has put his Roland TR-808 drum machine on display at the Synthesizer Museum Berlin, where it will remain for the next year.
One of his most prized pieces of gear, and one that is synonymous with electronic music culture, van Dyk used the 808 on multiple tracks, including his well-loved debut track, For An Angel, which was first released in 1994 and later remixed in 1998.

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The exhibit not only celebrates van Dyk’s long-standing influence on electronic music, but also pays tribute to the instrument that helped shape the genre through its use in countless legendary records. The exhibit announcement lands just after Roland’s 808 day, celebrated every 8 August in honour of its mighty legacy.
Paul van Dyk comments: “This Roland 808 has been with me since the early days; it’s more than just a machine, it’s a part of my musical journey. From For An Angel to countless other tracks, its beat helped shape my sound. I’m proud to lend it to Synthesizer Museum Berlin, where it can inspire the next generation of producers just like it inspired me.”

In honour of the recent 808 day, Roland has launched some generous deals on its plugins – with the spotlight on its TR-808 software, available now till 31 August as a perpetual license for just $49, or a third of its usual price of $149. All Roland plugins remain on sale over at Plugin Boutique.
Paul van Dyk’s Roland TR-808 will remain on display for one whole year – find out more about the Synthesizer Museum Berlin. 
The post “It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum Berlin appeared first on MusicTech.

Safari Pedals Gorilla Drive is FREE at BPB this week
Safari Pedals offers the Gorilla Drive ($49) warm analog-style saturation plugin for free via Bedroom Producers Blog until August 24th. Gorilla Drive is typically priced at $49, but BPB readers can claim a free license this week. To get your free copy, register with your email address via the link at the end of this [...]
View post: Safari Pedals Gorilla Drive is FREE at BPB this week

“Designed by pro DJs, for pro DJs”: TEILE’s new K1 Headphones isolate the beat in loud clubs, and are just €199TEILE Elektronik, the German music gear brand co-founded by techno artist Rampa, has released its first pair of professional headphones for pro DJs.
The K1 headphones arrive after two years of testing and fine tuning, and despite their professional label, they cost just €199. Rampa (real name is Gregor Sütterlin), who also founded the record label Keinemusik, runs the brand alongside innovator Benjamin Hughes.

READ MORE: Wunderkammer’s new WoO.1 is retro-styled sampler and looper that packs big ideas into its small frame

Design-wise, these headphones have a sleek, simple aesthetic and are all-black aside from the TEILE logo featured on the side of the headband. Strong clamping force allows for heavy isolation in loud environments, and they are powered by “highly efficient” 40mm Neodymium drivers.
They’re foldable for easy transport, and come with a reversible cable for easy connection to both 1/4” and 1/8” jacks. They also offer a USB-C port to connect to phones and computers, and have a built-in microphone for calls. The ear pads are easy to replace if they get worn down over time.

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“We have spent the last two years live testing and fine tuning the K1 headphones with the goal to create the perfect pro DJ headphones. Focusing on the needs of touring DJs, we built loud, clear and punchy drivers into large ear shells, and added a strong clamping force to isolate the beat in loud clubs,” states TEILE.
“They are light weight and easy to fold to a compact travel size. No adapters needed due to an easy two way cable engineering. Also we added a microphone and USB-C port for easy connection to your phone or laptop for previewing music or having a phone call. All in all a very slick and reduced clean shape design.”
To shop now or find out more, head over to the TEILE Elektronik website.
The post “Designed by pro DJs, for pro DJs”: TEILE’s new K1 Headphones isolate the beat in loud clubs, and are just €199 appeared first on MusicTech.

Cherry Audio introduce Crumar Spirit Crumar Spirit promises to accurately capture the rare instrument of the same name, as well as enhancing it with polyphony, additional modulation capabilities and built-in effects.