The Most Trustworthy USB-C Cable is DIYWe like USB-C here at Hackaday, but like all specifications it is up to manufacturers to follow it and sometimes… they don’t. Sick of commercial cables either don’t label their safe wattage, or straight up lie about it, [GreatScott!] decided to DIY his own ultimate USB-C-PD cable for faster charging in his latest video, which is embedded below.
It’s a very quick project that uses off-the-shelf parts from Aliexpress: the silicone-insulated cable, the USB-C plugs (one with the all-important identifier chip), and the end shells. The end result is a bit more expensive than a cable from Aliexpress, but it is a lot more trustworthy. Unlike the random cable from Aliexpress, [GreatScott!] can be sure his has enough copper in it to handle the 240W it is designed for. It should also work nicely with USB PPS, which he clued us into a while back. While [GreatScott!] was focusing here on making a power cable, he did hook up the low-speed data lines, giving him a trustworthy USB2.0 connection.
This isn’t the first time we’ve seen someone test USB gear and find it wanting, though the problem may have improved in the last few years. Nowadays it’s the data cables you cannot trust, so maybe rolling your own data cables will make a comeback. (Which would at least be less tedious than than DB-25 was back in the day. Anyone else remember doing that?) USB-C can get pretty complicated when it comes to all its data modes, but we have an explainer to get you started on that.

European competition regulators to make initial ruling on Universal’s $775m Downtown buyout by July 22EU competition regulator sets July 22 deadline to make initial ruling
Source

“Analogue in all the right ways: fast, expressive, and alive”: Universal Audio introduces Anthem Analog SynthesizerUniversal Audio has announced the latest addition to its library of virtual instruments: Anthem Analog Synthesizer. The new plugin was designed to deliver the “perfectly imperfect” sound of analogue synths in a fully digital format. No UA or Apollo hardware is required to use it, and it runs natively on both Mac and PC in VST3, AU, and AAX.
Beyond its analogue sound, Anthem features a series of effects and functions to provide extensive production options. The digital interface has an analogue-modeled filter, lo-fi modulation effects such as spring reverb and dubby tape echo, two different oscillators, amplitude and filter envelopes, and a built-in sequencer that can add polyrhythms, accents, and generative textures. There are also hundreds of presets with Anthem that can be used on their own or serve as launching points for inspiration.

READ MORE: The best free and paid-for plugins you need to know about this week

“With Anthem, we wanted to make a synth that didn’t just emulate vintage hardware – we wanted it to inspire creativity,” says Lev Perrey, VP of Product at Universal Audio. “It feels analog in all the right ways: fast, expressive, and alive.”
Universal Audio has demoed the plugin with sounds akin to the famous gritty lead from the legendary house track Satisfaction by Italian producer/DJ Benny Benassi. In the video UA writes, “Sounds that make statements. Your next Anthem starts here.”

 
Anthem is part of UAD Spark, UA’s subscription service, along with previously released virtual instruments such as the vintage-inspired synth, PolyMAX, and the wavetable synth, Opal Morphing Synthesizer. UAD Spark also has numerous effects, including compressors, reverbs, and tape machines.
For those looking to purchase Anthem on its own, UA is offering a special introductory rate of $149 to celebrate the launch. Once this period passes, the price will increase to $199.
Learn more at Universal Audio.
The post “Analogue in all the right ways: fast, expressive, and alive”: Universal Audio introduces Anthem Analog Synthesizer appeared first on MusicTech.

“Is it really important for him to come back? I don’t think so”: Zara Larsson slams artists who still work with Dr. LukeZara Larsson has called out artists who continue to work with Dr. Luke after Kesha accused the producer of sexual assault and battery and a string of other offences in 2014. Kesha and Dr Luke – real name Łukasz Sebastian Gottwald – reached an agreement to settle a defamation lawsuit in 2023.
Appearing as a recent guest on the Rolling Stone Music Now podcast, Larsson says: “There’s a million other people. Is it really, really important for [Dr. Luke] to come back? I don’t think so.”

READ MORE: “You will not feel like the odd person out”: Music Production for Women will host free workshops across Europe in July

The On My Love singer says artists should “actually put your money where your mouth is and work with women and hire women”.
“I think that’s way more powerful than writing a feminist anthem with someone who is not really standing for those values,” she goes on.
NME reckons Larsson’s comments are in reference to Katy Perry, who recently worked with Dr. Luke on her latest album, 143.
Larsson has previously worked with Gottwald in the past, and was signed to his label, Kemosabe Records. She left the label before Kesha’s accusations were made public.
In 2016, Larsson pulled no punches about her views on Dr. Luke. In an interview with The Guardian, she explained: “Too many women are not being believed when it comes to this. And to be honest, whether he’s a rapist or not, he’s not the nicest guy. He’s very talented, you can’t take that away from him, but where do we draw the line? I think Chris Brown is very talented, too, but I won’t support him because he’s an asshole.”
The post “Is it really important for him to come back? I don’t think so”: Zara Larsson slams artists who still work with Dr. Luke appeared first on MusicTech.

Universal Audio launch Anthem Analog Synthesizer The latest arrival to Universal Audio range of virtual instruments delivers a powerful soft synth that's been inspired by the bold and gritty character of classic analogue synths. 

What is Live Music Gatekeeping and why it’s due for a comebackMore artists are turning private channels, tight-knit fan communities and live music gatekeeping to drive lasting success. "Success takes time, and filling a venue is not just about the numbers," writes MIDiA's Hanna Kahlert.
The post What is Live Music Gatekeeping and why it’s due for a comeback appeared first on Hypebot.

Veteran musician Gary Shea shares lessons learned in new bookVeteran musician Gary Shea shares lessons learned in his long career performing and recording music around the world in a new book. Shea is a founding member of the bands New England and Alcatrazz, with gold and platinum records to his credit.
The post Veteran musician Gary Shea shares lessons learned in new book appeared first on Hypebot.

Dreamtonics Synthesizer V gains Pro Tools ARA2 support With the launch of Synthesizer V Studio 2 Pro 2.1.0, Pro Tools users will enjoy tighter integration between DAW and plug-in, along with a number of other enhancements and improvements. 

“You will not feel like the odd person out”: Music Production for Women will host free workshops across Europe in JulyMusic Production for Women – a learning platform which aims to empower both female and non-binary producers – is holding a series of three-hour beginner-oriented production workshops across Europe throughout July.
The workshops in London, Berlin, Amsterdam and Dublin – all completely free to attend – will cover the basics of music production, including beat programming, synthesis, audio effects and how to navigate a DAW.

READ MORE: Spotify CEO Daniel Ek leads investment of €600m into AI defence company

“If you’re tired of being one of the only women in the room when it comes to music production, we know how you feel and we’ve been there before,” Music Production for Women explains about its EmpowHer Sound workshops
“The most magical part of our events, in addition to all the exciting knowledge that you will take away is the phenomenal energy created when you fill a room with women who want to learn from and support each other.”
While the event is primarily aimed at women and gender minorities, MPW also states that the event is open to anyone who wants to attend, and no previous technical skills are required for you to participate.

“There really is nothing like it and we want you to experience it! At our events, you will not feel like the odd person out, you will not be spoken down to, or get technical jargon thrown at you. You will be part of an encouraging community and treated with the kindness and respect you deserve. Although our events are designed to empower women, absolutely everyone is more than welcome to attend.”

The events are sponsored by Kilohearts, Novation and DistroKid, and one fortunate attendee from each will be able to take home gear including a Novation Launchkey MIDI controller, Focusrite Scarlett Solo interface, and Kilohearts’ Phase Plant soft synth.
Music Production for Women has been offering workshops since 2019 to thousands of students in multiple countries, with courses focusing on production, mixing and promoting your own music. The platform was founded by Ableton music educator, musician, and entrepreneur Xylo Aria.
During an 2021 interview with Stereofox, Aria explained that she established MPW in part because of how long it took for her to learn production herself due to the lack of community around it. Another aim is to: “increase the visibility of female role models, so that people early on in their journey can have someone to look up to that they can relate to.”
Find MPW’s free workshop event dates below. You can book yourself a free ticket via the MPW website.

Dublin – 10 July 2025
Berlin – 14 July 2025
Amsterdam – 16 July 2025
London – 22 July 2025

The post “You will not feel like the odd person out”: Music Production for Women will host free workshops across Europe in July appeared first on MusicTech.

Spotify CEO Daniel Ek leads investment of €600m into AI defence companyDaniel Ek, Spotify’s CEO and founder, has led a €600 million round of investment in Helsing, a Munich-based AI defence company that manufactures strike drones, aircraft and mini-submarines amid changes in European warfare.
Helsing, which started in 2021, is now valued at €12 billion, according to the Financial Times, placing it among Europe’s five most valuable private tech companies. Its flagship product is AI-based software that offers real-time “video-game-style visualisation” of battlefields, as reported by Wired. However, since its inception, Helsing has expanded its operation to build and sell strike drones, and is now preparing a fleet of unmanned mini submarines, reports TechCrunch. The company has sold thousands of strike drones to Ukraine in the past year as the Russia-Ukrainian war continues.
The €600 million Series D funding, which was spearheaded by Ek’s investment firm Prima Materia, will be used to “accelerate Helsing’s leadership in all-domain defence innovation”, says Helsing.
Daniel Ek, who is also Chairman at Helsing, adds: “As Europe rapidly strengthens its defence capabilities in response to evolving geopolitical challenges, there is an urgent need for investments in advanced technologies that ensure its strategic autonomy and security readiness…By doubling down on our investment, Prima Materia reaffirms its commitment to empowering Europe’s technological sovereignty—an ambition Helsing perfectly embodies.”
The investment round also saw funding from Lightspeed Ventures, Accel, Plural, General Catalyst and SAAB and BDT & MSD Partners. Overall, the company has now raised €1.37 billion, according to TechCrunch.
Speaking to the FT, Ek adds: “The world is being tested in more ways than ever before…There’s an enormous realisation that it’s really now AI, mass and autonomy that is driving the new battlefield.”
Ek has come under scrutiny before for his involvement in Helsing. Artists such as Skee Mask have removed their music from Spotify and boycotted the streaming platform following Ek’s €100 million investment in Helsing in 2021. The Spotify CEO expects further backlash, but remains adamant: “I’m sure people will criticise it, and that’s OK,” he says.
“Personally, I’m not concerned about it. I focus more on doing what I think is right, and I am 100 per cent convinced that this is the right thing for Europe.”
Alongside his work for Spotify, Prima Materia and Helsing, Daniel Ek is also the chairman and co-founder at Neko Health, a medical technology company that uses AI to analyse health data.
In the past two years, Ek has cashed out around $376.3 million worth of Spotify shares — a sum that no artist on the streaming platform has reached via its royalties system. In April 2025, Spotify recorded its highest subscriber net adds since 2020. 
Read more music technology news.
The post Spotify CEO Daniel Ek leads investment of €600m into AI defence company appeared first on MusicTech.

ADAM Audio D3V review: Compact monitors with few compromises£290, adam-audio.com
ADAM Audio’s D3V are small monitors that compete with the likes of IK Multimedia’s iLoud Micro, the KRK GoAux series and AIAIAI’s Unit-4 wireless monitors. Whether you have portability in mind, or need a compact yet affordable monitor system for your bedroom studio, the D3V emerges as a standout competitor.

READ MORE: IK Multimedia iLoud Micro Monitor Pro: Superb for on-the-go producers and for creators with poor acoustics

Innate sound quality seems to be the priority here, with the new D3V bearing a scaled-down version of the brand’s iconic AMT (Air Motion Transformer) tweeter for sumptuous highs, plus passive radiators on the side of each monitor added to complement the compact woofers for extra bass extension.
On the flip side, there’s a noticeable absence of smart digital functions found on similar monitors, such as Bluetooth and automatic room correction EQ. But the D3Vs’ £290 price tag is an appealing proposition, delivering maximum sound quality with minimum fuss in compact workspaces.
Image: Press
ADAM Audio D3V monitors features and specs
Out of the box, I’m shocked by how dinky these speakers look, but I needn’t be fooled by the D3V’s slightly toy-like appearance.
In addition to the brand’s new D-ART tweeter, there’s a 3.5-inch bass woofer per monitor. The passive radiators lurking around the sides are unexpected but help the monitors sound far larger than they look. In terms of amplification, there’s more headroom than both the KRK GoAux 4 and IK’s iLoud Micro, thanks to more powerful amplifiers for each driver. For example, compare D3V’s 70 Watts and 30 Watts RMS for its woofer and tweeter respectively to 33 Watts/17 Watts RMS on the GoAux 4. ADAM is drawing out maximum performance from a compact active monitor.
The D3Vs have simple plastic stands that slide into the bottom and set the speakers at an angle. This is primitive compared to the multi-angle metal stands offered on KRK’s GoAux range, but the more basic approach makes for a far smaller physical footprint (though you do need to leave a little room on either side of them for the passive radiators to move freely).
Stand mounting these speakers is also an option, with a ⅜-inch threaded insert on the base. Unlike the GoAux, there’s no carry case included, so you’d have to factor in the price of a suitable third-party one if you’re serious about working in multiple locations.
On the front is a multifunctional rotary encoder and a 3.5 mm headphone socket. The encoder’s primary function is volume control, but via a series of clicks, you can switch between inputs, enter standby mode, and power down.
Around the back, the master left-hand speaker has all the connections and houses the amplifiers, while the passive right-hand speaker connects to it with the supplied multi-pin cable. This arrangement is the same as for most other compact monitors, and while it limits versatility for scenarios where you might want to use the monitors individually, having all the cables run to one of the speakers is pretty neat.
Input options are relatively minimal: two TRS jack sockets for the stereo analogue input, plus, more usefully, a USB-C socket for playback of audio directly from a computer. Both the balanced inputs and USB audio edge the D3V ahead of the iLoud Micro Monitor, which only has unbalanced analogue ins and no USB audio, but there’s no Bluetooth on the ADAMs, if that might irk you.
Image: Press
What EQ customisation is available on the ADAM Audio D3V?
The simplicity of approach also carries through to equalisation. Instead of providing options to both cut and boost frequencies, three filters provide different levels of attenuation in the low, low-mid and high frequency ranges, respectively. However, it’s frustrating that I have to consult a separate technical report to find this out. I’d prefer these details to be in the user manual, or better still, graphics on the monitors to show the filter responses.
The Position control corrects bass build-up when monitors are placed close to room boundaries, ranging from the Stand setting (no low-frequency cut, where the monitors are mounted on floor stands) through to Corner (a reduction of 6 dB in the low end). Meanwhile, the Desk control applies up to 6dB of reduction in the low mids for positioning on a studio desk, and Room Acoustics attenuates high frequencies for listening environments that have lots of reflective surfaces.
I love the set-and-forget approach on offer here. In my case, I quickly flick the Desk setting to Large to clear up low-mid build-up caused by my desk, giving a truer balance within the frequency spectrum. No further fiddling around at the back is required – I’m ready to get stuck in with some analytical listening.

How do the ADAM Audio D3Vs sound?
Though you can’t reasonably expect earth-shattering bass from the D3Vs, the low-end is impressive for the size of the monitor, and it’s really articulate, too. The passive radiators do a grand job of providing extension without the inevitable bass build-up associated with port-equipped speakers placed near walls.
Listening to Nitin Sawhney’s Nostalgia reveals an articulate, punchy kick, plus a decent stab at sub-bass synth lines. At the higher end, the song’s glossy, stacked female vocals are ultra-pleasing to the ears. This welcome combination of bass punch and crisp articulation is equally as satisfying on lighter cuts, such as The Jacques Loussier Trio’s jazz-funk Little Fugue in G Minor.
While high frequencies are crisp, they’re not fatiguing. There’s a clear separation between parts (and the individual contribution of the speaker drivers) on the ADAMs, which contrasts with a more rounded yet less detailed tone coming from the KRKs GoAux 4s I have to hand.
Overall, the sound is a little more boxy than my main (6.5-inch) Genelec monitors, and of course, the bass extension was never going to match those bigger monitors either. But given the price difference between the two sets, ADAM is really excelling with the performance of the D3Vs. Plus, onboard USB audio means I can swiftly and conveniently switch between my main audio interface/monitors and the D3Vs without adding more analogue audio cables.

Who are the ADAM Audio D3Vs for?
The D3Vs will excel in bedroom studios or indeed any situation where space is limited. If you’ve got problems with room resonances, you’ll have to look into adding on room correction using the likes of Sonarworks’ SoundID or IK’s ARC at extra cost, but I prefer this approach to most built-in room correction, which can be limited unless you’re spending much more on monitors. So ADAM’s stripped-back approach leads to the best quality sound, ultimately.
Price-wise, the D3V sits favourably against the similarly-priced, smaller and less-powerful iLoud Micro (although the iLoud does have the benefit of Bluetooth input). The 3-inch model in KRK’s GoAux range is also a similar price, while the larger 4-inch GoAux with built-in room correction is around £100 more. Neither of the KRK models can quite match the D3V sonically, plus the GoAux 3 lacks the D3V’s ultra-useful USB audio capability.
For on-the-move music-making, you can get set up in a matter of seconds and enjoy quality sound, all without fiddling with a ton of controls.
Key features

Active monitors
Available in black or white
1.5-inch D-ART tweeters
3.5-inch woofers, plus dual passive radiators per monitor
240W total peak amplifier power
Frequency response at -6 dB: 45 Hz – 23.2 kHz
Dimensions (with included stand): 240 mm (H) x 115 mm (W) x 150 mm (D)
Comes with USB-C cable, USB-C to USB-A converter and external power supply

The post ADAM Audio D3V review: Compact monitors with few compromises appeared first on MusicTech.

Finland warms up the world’s largest sand battery, and the economics look appealingPornainen recently turned on a 100 MWh thermal battery filled with ground up soapstone.

OOMPH plug-in from Schulz Audio The latest arrival in the Schulz Audio range is a powerful new dynamics plug-in that provides producers, engineers and musicians with some precise signal-shaping capabilities.

Coinbase slammed for backing US Army paradeUS President Donald Trump promoted a 250th anniversary celebration of the Army that coincided with his birthday, leading to a sharp divide in how many Americans spent June 14.

Gateway Studios welcomes Goose as 1st to rehearse in Studio 75Gateway Studios & Production Services (GSPS) announced on Monday that, "Connecticut-based jam band Goose is the first artist to rehearse in Studio 75, marking a major milestone for the newly opened facility in Chesterfield, Missouri.""Studio 75, designed for productions of various scales, offers 15,000 square feet of rehearsal space, a 75-foot grid height, and a 1,000,000-pound grid weight capacity," they said. "Amenities include a 4,000-square-foot receiving/staging area, three loading docks, a drive-in ramp, and 8,000 square feet of dedicated dressing rooms with ensuite private bathrooms, offices, and a catering lounge. Goose utilized Studio 75 to prepare for their Summer 2025 tour, which launched in Napa, California at BottleRock Music Festival. The collaboration with GSPS included enhanced lighting rigs and state-of-the-art video equipment, all provided by GSPS,  as well as the use of the on-campus pre-visualization suites, allowing the team to tech the show before moving into full-band rehearsals."“The best part about working at the studios this time is we got to prep at Gateway, use the pre-vis suites, and build the rig right down the road - all without breaking our workflow,” said Andrew Goedde, Goose’s Lighting Designer. “It made us so much more efficient with our time. We’ve never had that kind of setup before.”“In other places, we’ve had to stop, pack up, move to another city, rebuild everything... Here, we kept building while we were still pre-vising. Tony [Goose’s Lighting Programmer] was working in the suite while I was out with the rig updating presets - then we merged our files at the end of the day. That kind of flexibility is huge.”When asked about the capabilities of Studio 75 compared to other national facilities, he added, “Rigging-wise, we could do anything. There were no restrictions, no hiccups. At other facilities, we would have to move the rig around or settle for less, but here, we could fly the rig to its full show trim height without any issues. That’s often the biggest challenge at other rehearsal facilities. This was a game-changer for us - at Gateway, we had the freedom to do exactly what we needed, and that flexibility made all the difference.”“Once we had the PA flown, I was really impressed. There was no audible slap, and I could run the system at full show volume without making any major adjustments to the system tune. That’s rare. I left the space fully confident that our mix would translate on tour without any surprises,” said Eric Loomis, FOH Audio Engineer.Loomis also noted the intentional design of the space from the moment they walked in, “The room had two layers of treatment that I noticed immediately. It was clear that time and planning went into making the acoustics right - and it paid off.”The ability to fly the rig to its full show trim height was also a game-changer for the band itself:“It’s so important for the band to see what it’s actually supposed to look like on day one. You can show renders, but if the rig isn’t fully up, they can’t really feel it. That first walk-through was the real ‘wow’ moment.”According to the specs provided, "In addition to Studio 75, GSPS has officially opened Studio 80 -  the largest dedicated rehearsal studio in North America. This 52,500-square-foot space boasts an 80-foot grid height and a 2,000,000-pound grid weight capacity. It includes a 10,800-square-foot receiving/staging area, six loading docks, shore power for six buses, a drive-in ramp, and 15,000 square feet of dressing rooms, offices, and catering space.""The Studio Support space is also now operational, offering 15,700 square feet of open space with a 48-foot ceiling and rigging points at 42 feet. Additional features include a 3,400-square-foot receiving/staging area, one dedicated loading dock with leveler and truck power, a drive-in ramp, and two private offices with restrooms. This space also offers secure storage for touring acts, measuring 14 feet wide by 30 feet deep, with two 5-foot-wide gates - providing a total opening of 10 feet for easy access and ample space for equipment."“We’ve had the privilege of working with Goose for years, and having them rehearse in Studio 75 is a significant milestone for us,” said Trey Kerr, CEO of GSPS. “Our longstanding relationship has allowed us to truly understand their needs, and it’s been rewarding to support their vision with the full capabilities of our space - from pre-visualization to rehearsal to production.”"GSPS stands at the forefront of production technology and rentals, offering integrated, turnkey solutions for live music touring, television, film, sporting, corporate events, and festivals," they said. "The 32-acre campus is designed to meet the demands of complex productions, providing a seamless environment for creatives and crews to prepare, collaborate, and execute at the highest level.""Phase two of the Gateway Studios campus is scheduled for completion in fall 2025," they added. "This next stage of development will introduce Studio 65 and a new office building. Studio 65 will offer 12,500 square feet of rehearsal space, a 65-foot grid height, and an 800,000-pound grid capacity - providing a versatile, fully equipped environment for tour prep in a more intimate setting. The new office building will serve as GSPS headquarters and include leasing opportunities for industry partners, creating a collaborative ecosystem."The post Gateway Studios welcomes Goose as 1st to rehearse in Studio 75 first appeared on Music Connection Magazine.