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
Source

Ronroco by Gustavo Santaolalla from Spitfire Audio The latest arrival in Spitfire's Folk & World category has been created in collaboration with Gustavo Santaolalla, the award-winning composer behind the scores of The Last of Us, Motorcycle Diaries and Babel.

The Bob Moog Foundation is hosting a raffle for a Geddy Lee Minimoog Model D – here’s how to enterFancy getting your hands on a new Moog synth? Well, you’re in luck. The Bob Moog Foundation is hosting a raffle, and a $25 ticket could score you a Geddy Lee Minimoog Model D synthesiser.
The satin red Minimoog pays tribute to the Rush frontman, taking inspiration from the shiny red stage setup of the band’s 1984 Grace Under Pressure tour. It is also branded with Rush’s signature Starman logo, and received a limited run, with only 500 being made.

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

This model, officially branded with the serial number GLMD-0233, comes with a certificate of authenticity signed by Lee himself. “It’s a thrill to see the Minimoog Model D in that stunning red,” Lee says. “It is so representative of one of the most fertile periods in Rush’s creative history. I’ve always been mad for custom colour instruments, and I’m thrilled with how it turned out. It’s just so beautiful.”
Originally released in the 1970s, the Minimoog Model D has seen a number of reissues in its time. The Geddy Lee model in particular boasts a custom VCA, capturing the authentic vintage Moog sound while allowing for an extra “sonic punch”.

The synth is also fitted with some standard modern upgrades, like MIDI, a premium 44-note Fatar keybed and full support of note, velocity, pitch bench, and aftertouch. You can also control loudness, filter, oscillation, modulation, and pitch.
As well as the synth, the winner will also receive an exclusive poster and a limited-edition 10-inch red translucent vinyl record featuring Rush’s Xanadu and Jacob’s Ladder.

The raffle will help further the Bob Moog Foundation’s efforts to educate and inspire creativity through science, music, and history. So far, the foundation has helped over 35,000 elementary school students learn about the science of sound with its Dr. Bob’s SoundSchool initiative. It also regularly immerses people in the history of synthetic technology at the Moogseum in Asheville, North Carolina.
The Bob Moog Foundation Archives also collects rare instruments, photos, prototypes, and more to preserve the history of music technology.
This is the second raffle the foundation has hosted this year. From February to March, participants could enter to win a signed Oberheim Matrix-12 synthesizer worth $20,000. Those who bought five or more entries were also invited to an exclusive group call with principal designer Marcus Ryle.
The Geddy Lee Minimoog Model D raffle will be running until 19 May, with tickets costing $25 each.
Credit: The Bob Moog Foundation
The post The Bob Moog Foundation is hosting a raffle for a Geddy Lee Minimoog Model D – here’s how to enter appeared first on MusicTech.

“There are no strings, no structure to generate revenue”: Moby relaunches royalty-free audio library, mobygratis – and it’s totally freeBack in 2005, Moby launched mobygratis, an extensive digital library of royalty-free music. 20 years on, Moby has given mobygratis a new lease of life, relaunching the online music resource with a wealth of new instrumental tracks and audio files.
Relaunched in partnership with Little Walnut Productions, mobygratis now boasts 500 new instrumental tracks, with plans to add 250 later this year. The library is also set to continue growing over the coming years, with 500 new instrumental tracks already in the pipeline for 2026.

READ MORE: “Everybody thinks that it gives them a professional edge… however, you are somehow a villain if you use it”: New study reveals widespread use of AI among music producers, though most “do not want to publicly talk about it”

While the library used to exclusively offer stereo masters, the re-vamped mobygratis now offers multitrack audio files. This should allow users more freedom to remix and experiment with each file.
Each audio track is available to download in MP3, stereo WAV and multitrack WAV formats. And searching and filtering functions have also been improved, allowing you to hunt for tracks depending on your desired mood or BPM.
To date, mobygratis cites that it has supported over 50,000 projects, helping everyone from indie film makers, to students, to choreographers. “One of my goals with mobygratis us is to create as few barriers to use as possible,” Moby explains in the announcement video. “I want you to just dive in, use the music, and see what happens.”
“Also, to be really clear, it’s free,” he insists. “There’s no bait and switch. It’s not like you sign up for seven days free, then all of a sudden you have to pay. Nope, it’s free.”

The new royalty-free tracks come from Moby’s back catalogue of creativity over the COVID-19 lockdown. “I went into my archives and ‘finished’ around 1,500 unreleased songs for mobygratis,” Moby explains. “They’re all instrumentals, and my hope is that people can find the music and do whatever they want with it. Remix it, sing on it, use it for films, choreography, social posts, whatever.”
While the music is free to use, the website lists two guidelines of use. At the very least, Moby requests people use his tracks with a sense of compassion and ethical responsibility. With that in mind, Moby politely asks to avoid using his music to promote right-wing politics/causes, or animal products.
“Hopefully, mobygratis is egalitarian chaos at its most open and unregulated,” he adds. “Free is a simple concept. mobygratis is just free. There are no strings, no structure to generate revenue, just music, made available for anyone who wants to create.”
“We’ve also included links to some of my favourite charities, so people can pay it forward if they’re moved to.”
In terms of licensing, the site offers both Restricted and mobygratis tracks. As the website explains, Restricted tracks are a bit more, well, restricting. The tracks cannot be modified or used collaboratively, and seem to be geared towards filmmakers.
On the other hand, mobygratis tracks can be fully used however anyone would like. You can modify them, or leave them as they are, and can use them for non-commercial purposes.
“Restricted tracks are only available to be licensed for independent filmmakers for their not-for-profit/charitable/non-commercial projects,” the site explains. “However all the music (‘restricted’ or ‘mobygratis’) may be licensed for use in any non-commercial films.”
For more information, head to mobygratis.com.
The post “There are no strings, no structure to generate revenue”: Moby relaunches royalty-free audio library, mobygratis – and it’s totally free appeared first on MusicTech.

How an Independent Artist Sold Out first headline showLearn how a completely independent artist sold out their first headline show. Basyl used nothing but smart strategy, community support, and zero ad spend. From DIY posters to a small paid Instagram boost, his blueprint proves you don’t need a big budget to make a big impact.
The post How an Independent Artist Sold Out first headline show appeared first on Hypebot.

Live Music Industry News: Fans ♥ Live, Shrinking Tours & MoreThis roundup of the latest live music industry news covers topics from a consumer survey on live shows, to UK grassroots dwindling, and more...
The post Live Music Industry News: Fans ♥ Live, Shrinking Tours & More appeared first on Hypebot.

“Everybody thinks that it gives them a professional edge… however, you are somehow a villain if you use it”: New study reveals widespread use of AI among music producers, though most “do not want to publicly talk about it”AI in music isn’t just a looming future – it’s already here. And according to a new study, a surprising number of producers and musicians are secretly using it in their work, even as public stigma keeps them quiet.
The study, titled AI in the Music Industry – Should You Fight It, Ignore It, or Embrace It?, surveyed more than 100 industry professionals and music consumers with the aim of sparking conversation around AI use and helping creatives better prepare for what’s ahead.
In a new interview with Entrepreneur, Sonarworks CEO Helmuts Bems discusses the most striking findings from the research – chief among them, just “how widespread the use of AI tools already is in the professional music industry”.

READ MORE: “Staying in the streaming world and trying to play that game is probably more of a threat”: Bandcamp executive says its business model is “timeless” and “well positioned for the age of AI”

“Those on the frontlines who have to meet deadlines for commercial projects have mostly tested AI systems and have found them to be helpful,” Bems explains. “There were many anecdotes about artists submitting AI-generated songs as their own and labels not being able to detect them. Everybody thinks that it gives them a professional edge, and maybe rightly so.”
Still, the executive says few are willing to admit it.
“However, the most surprising [finding] is that these same people do not want to publicly talk about it. The consensus is that AI is an extremely potent technology and already very, very good at creating content, however, you are somehow a villain if you use it.”
This mirrors findings from a 2023 survey by global studio network Pirate, which revealed that over half of artists would hide their use of AI in their music due to fears of audience backlash.
According to Bems, AI’s rise will benefit producers and composers the most, allowing them to generate more content independently without relying on session players or expensive studio time.
“We believe that producers and composers will be the big winners in the AI era. They will be able to deliver more content than ever, without depending on others to deliver their parts,” he says.
At the same time, commercial musicians may find fewer opportunities in areas like background music or advertising, while indie artists and hobbyists will have unprecedented access to creation tools – but also face an oversaturated market.
“In this new landscape, creativity alone isn’t enough – artists must also become curators, strategists, and technologists to thrive,” Bems advises.
In the long term, AI’s ease of use could even deter young people from learning instruments altogether: “If AI gets really good at creating music with a click of a button, it might discourage people to try learning to play an instrument.”
The CEO also notes that “pure AI-generated content” poses the biggest threat to musicians as it redirects revenue away from artists toward music platforms and AI developers.
“The economic shift favours those who adapt – producers, composers, and creators who embrace AI tools to boost their efficiency and output. But it also means that royalties and revenue from streaming and licensing could increasingly go to platforms and AI developers instead of artists,” says Bems.
The post “Everybody thinks that it gives them a professional edge… however, you are somehow a villain if you use it”: New study reveals widespread use of AI among music producers, though most “do not want to publicly talk about it” appeared first on MusicTech.

Brainworx launch free bx_mastering studio The latest announcement from Brainworx sees the company bring the algorithms behind the popular mastering.studio online service to a standalone desktop application.

Splice acquires Spitfire Audio for a reported $50 millionIn a bid to expand its reach into the plugin market, Splice has acquired British virtual instrument library purveyor Spitfire Audio for a reported $50 million, according to the Financial Times [via Music Business Worldwide].
In a press release shared with MusicTech, the company says its decision to purchase Spitfire comes as the plugin market is valued at $640 million, and the wider music software and services sector “exceeds $7 billion”.

READ MORE: Splice’s final instalment of Oliver’s “Power Tools Decades” sample pack series is inspired by hit producers of the noughties

Described as the “leading platform for music creation”, Splice hosts a sample library with thousands of royalty-free sounds, and a growing suite of AI tools to help creators “unlock inspiration, experiment with sound and generate unique compositions”.
Spitfire Audio, meanwhile, offers a collection of virtual instrument libraries, including collections made in collaboration with Hans Zimmer, Ólafur Arnalds, the BBC Radiophonic Workshop, BBC Symphony Orchestra, and Abbey Road Studios.
“The teams at Spitfire Audio and Splice have deep respect for composers, musicians and producers and are committed to celebrating and supporting their work”, says Kakul Srivastava, CEO of Splice. 
“We’re both sound-first, creator-led companies who believe great software and technology can supercharge the creative experience. Our shared vision is to develop tools that expand – not replace – human creativity.
“With Spitfire’s expressive instruments and Splice’s AI-powered platform, we’re just beginning to explore what’s possible.”
As part of the acquisition, Splice and Spitfire are planning to release new products which “blend Spitfire Audio’s cinematic soundscapes and orchestral expertise with Splice’s sample catalogue and AI-powered discovery engine”.
“We’ve always focused on inspiring people to create extraordinary music,” says Paul Thomson, Co-Founder of Spitfire Audio. “With Splice, we can now bring that inspiration to a whole new generation of artists, producers, and storytellers.”
The music creation market is reportedly projected to nearly double to $14 billion by 2031 [per MIDiA Research]. With this new move, Splice hopes to position itself to lead the market.
“Splice has already built an incredible business,” added Olivier Robert-Murphy, CEO of Spitfire Audio. “Joining forces means Spitfire Audio’s sounds will find new homes in studios around the world – whether that’s a bedroom producer or a blockbuster composer.”
In terms of operating, both Splice and Spitfire Audio will continue to operate independently for the time being. Olivier Robert-Murphy will remain as Spitfire CEO, reporting to Splice CEO Kakul Srivastava, while Paul Thomson will continue to oversee Spitfire Audio’s creative direction.

To read some FAQs surrounding the acquisition, head to Spitfire Audio.
The post Splice acquires Spitfire Audio for a reported $50 million appeared first on MusicTech.

Supercharging creativity: Splice acquires Spitfire Audio
Splice and Spitfire Audio are now under one roof—two pioneers in music creation are joining forces to build the future.