Drawmer reveal the OC1 & FC1 Drawmer have officially announced the introduction of the OC1 and FC1, a pair of 500-series modules which share a common feature set but offer two different ‘flavours’ of compression. 

Tweakbench releases Jigsaw, a FREE pedal board effect plugin
Tweakbench has released Jigsaw, a free pedal board effect plugin for macOS, Windows, Linux, and iOS. This one is not groundbreaking, but it is still a reason to celebrate for me. Tweakbench is an old-school indie developer, and seeing that name in the news takes me back to the old days, when there were only [...]
View post: Tweakbench releases Jigsaw, a FREE pedal board effect plugin

Jeesonic updates EQ Pro, one of the best FREE EQ plugins right now
Jeesonic has updated EQ Pro, its free 24-band dynamic equalizer plugin for macOS and Windows, to version 1.2.2. I rarely cover free plugin updates in the news section because we get free updates every day. But I felt like sharing this one because EQ Pro is definitely one of the best free EQ plugins right [...]
View post: Jeesonic updates EQ Pro, one of the best FREE EQ plugins right now

inMusic donates nearly 4,500 items to the Bob Moog Foundation – including Bob Moog’s office files, over 500 schematics, and prototypesinMusic has given a generous donation of music gear items and paperwork that once belonged to Bob Moog to The Bob Moog Foundation.
The donation encompasses 4,489 items in total, including Bob Moog’s personal office files, 500 schematics, 700 letters, and a number of vintage synthesisers and prototype models. inMusic, which is the parent company of Moog Music, has donated the items so they can be preserved and made accessible for education and research.

READ MORE: Finneas on why a Minimoog was the perfect instrument to “encapsulate Millennial cringe” on Netflix’s Beef: “He’s not a musician and he has a $25k synth”

The vintage synths and prototype models that were donated include a Fairlight CMI, a Synton System 3000 modular synth, a bench-model Minimoog Voyager prototype, and more. Among a number of test models are Moogerfooger prototypes, a Multiple Resonant Filter (MuRF) test fixture, and a Moog Phone Controller model PC-30.
The foundation has also received hundreds of back issues of industry magazines and dozens of rare product catalogues for “almost every imaginable peer company” in the electronic music instrument industry, and letters of correspondence between Bob Moog and industry luminaries, including Wendy Carlos, Herb Deutsch, Felix Visser, and Lydia Kavina.
Also donated were 16 multi-drawer cabinets filled with capacitors, integrated circuits, and other electronic components used in the creation and repair of Moog synthesisers. Evaluating, documenting, and archiving the immense donation has taken well over a year to complete.
Credit: inMusic / The Bob Moog Foundation
Joe Richardson, President of Moog Music and Executive Vice President of inMusic says, “The Bob Moog Foundation serves as an essential steward of one of the most important legacies in electronic music. We are proud to contribute these materials so they can be preserved and made accessible to researchers, educators, musicians, and fans.
“As Moog Music continues to bring creative tools to artists around the world, the Foundation’s educational mission helps ensure that the ideas, curiosity, and ingenuity that defined Bob Moog continue to inspire others.”
Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation, adds: “The Bob Moog Foundation is deeply grateful to inMusic for this incredible, generous donation of historical archival material. Every donated piece helps us tell the story of Bob’s complex, indelible legacy. This donation helps solidify the Bob Moog Foundation Archives as a world-class repository for Moog and electronic music history.”
To learn more about the archive and the work of the foundation, head over to The Bob Moog Foundation website.
The post inMusic donates nearly 4,500 items to the Bob Moog Foundation – including Bob Moog’s office files, over 500 schematics, and prototypes appeared first on MusicTech.

How a sound-free concert is streaming music to d/Deaf people’s brainsAccessibility in the music industry still has a lot to do to improve the experience for disabled artists, professionals and fans.
While a recent agreement between Live Nation and the Equality and Human Rights Commission (EHRC) will see the ticketing giant improve accessibility at its shows, a report last year by Transreport revealed just over two-thirds of disabled people believe UK venues aren’t equipped to accommodate their access needs.
Supporting the d/Deaf experience in music can include having induction loops at concerts, or attendees wearing haptic vests that help to feel the vibrations of music.

READ MORE: How not to make an organ album, according to Michael Cloud Duguay

But the “first ever” sound-free concert that took place in May at Kings Place, London, has shown enormous promise that live events could support the d/Deaf experience better. Organised by Tom Staniford and Adrian Webb of technology advisory company OutcomePath, the pair wanted to flip the idea of making a concert equitable for d/Deaf people.
“Those of us who have no disabilities have to stop thinking about disability as bringing everyone up to our standard,” says Webb. “I completely resent that view of disability.”
After two years in the making and getting sponsorship by one of the big cochlear implants (CIs) manufacturers, Advanced Bionics, they produced a concert specifically for CI users to enrich their auditory experience and have music streamed directly to them.
“A CI is just a tool like a phone,” says Staniford. “We were trying to close a paradigm shift of not viewing that tool as promoting equality. It should become a tool for envy.
Image: OutcomePath
“It wasn’t about giving the attendees a substandard experience of ‘maybe you’ll hear as well as hearing people one day’. It was about creating this new experience so one day we will have hearing people seeing CI users thinking ‘I fucking wish I had one of those’.”
So, how was it sound-free? Sound waves vibrate in a medium, such as in the air. Your outer ear collects this movement and funnels it to the eardrum, making it vibrate. These vibrations are passed to the cochlea. This turns the vibrations into electrical signals sent to our brain via the auditory nerve endings. With CIs, an electrode is inserted into the cochlea. This bypasses tiny hairs in the ears that would be stimulated by vibrations if you had no hearing loss. Rather than pumping out louder sound into your ear like a hearing aid, CIs convert sound passed through their processor into electrical signals and pump this directly to the auditory nerves in the brain.
Most CIs now connect to devices via Bluetooth. This was how music was streamed in the concert, as hearing aid manufacturer Phonak was brought in to provide the wireless streaming elements, so all attendees were connected on the same channel. Bluetooth transmits using radio waves, and Staniford explains that “human ears can’t hear radio waves; that’s why it’s sound-free”. Webb adds: “Somebody described it as music going directly into your brain, which was exactly the intention.”
But how were the tracks played in the concert sound-free? Music is a pattern of sounds and vibrations made by people and instruments.
Live or recorded music has both vibrated the air at some stage, as it can be listened to or monitored through speakers and headphones. To not vibrate the air as sound waves do, the music was streamed directly to the CIs of the attendees via Bluetooth using GenAI music platforms. No speakers were set up, meaning the room was silent for those with hearing.
Image: OutcomePath
Simon Morris composed the music live during the concert on his laptop using GenAI music platforms Suno, Udio and Google Flow Music (formerly known as Producer.ai). Webb explains these platforms use large language models (LLMs) to analyse historical patterns of music.
“If you prompt a country music composition, it will look at the history of the waves of country music that it has been trained on. The AI is looking at the co-occurrence of different waveforms and frequencies against each other. It recreates by almost averaging across them.”
Morris has hearing and was not allowed to listen to the music he was creating. He submitted prompts about the melody, rhythm, instruments and vibes of a song into the GenAI platforms for classical, jazz, EDM and pop genres. Attendees read the prompts on a screen behind him and suggested ideas to him, while he showed them what made effective prompts to generate better music if they wanted to create their own GenAI compositions. Morris made sure none of the music created was pulled from sampling any artists either. And because the GenAI music was never played through speakers, nor recorded, it meant what the attendees heard in the concert was a one-off, as those tracks will never be heard again. Often at concerts, d/Deaf people’s sound quality experience can differ a lot, being impacted by background noise of people dancing, shouting and jostling around, or how far they are from the PA.
Veterinary nurse Skye White attended the concert and has had a CI for six years, after spending most of her childhood with hearing aids after being born deaf. She goes to gigs but can find it hard to listen if she cannot follow lyrics to the music as it “all sounds like a blur”.
Image: OutcomePath
Communications officer Charlotte Young wanted to go to the sound-free concert to reconnect with music, after having her CIs for nearly four years following hearing loss over 20 years.
“I have done performing arts all my life, growing up with music and dancing and singing,” she says. “In my hearing loss journey, everything started changing and I became more isolated.”
Staniford knows this feeling too. After being born with hearing, he had moderate hearing loss in his teens before experiencing profound hearing loss in his late 20s that led him to get a CI. As his is made by a manufacturer that wasn’t Advanced Bionics, he could not partake as an attendee in the concert.
What stood out to him, though, was how it brought a sense of community to the d/Deaf attendees.
“When everything went silent for me, and I could see all these smiling faces enjoying what they were listening to, it was one of the most psychological, penny-drop moments I’ve ever felt. It was ‘trial-by-fire’, and we needed to show the event was possible. We needed to show it was such a profoundly moving event.”
Young recalls one track reminding her of Frank Sinatra. “We were singing along. It’s mind-blowing for us. We were like, ‘We’re d/Deaf, can hear the lyrics, all laughing together and smiling. What the heck!’.
“It’s always so nice to be in a room with other CI users because it’s quite rare that you tend to meet them in groups. It was a really special moment.”
White appreciated how clear the sound was. “It was really nice to have all the background noise out, hear it really clearly and enjoy it together. It’s just a lot more inclusive.”
Image: OutcomePath
Young says it was “surreal” to see hearing people sit in silence and get a sense of “how uncomfortable we feel a lot of the time”, as well as being “the only people in the room to ever hear that music”. White agrees and likes how the concert was a “180” on hearing people being the ones excluded, instead having the focus centred on those with hearing loss.
“Every single day, d/Deaf people are having to fit into the hearing world. We’re always left out. Now they know what it is like for us. To be able to have an event specifically for d/Deaf people, it’s so nice to have our own thing.”
Webb argues the success of the concert has given attendees a superior auditory experience to those with hearing. “It’s pushed the boundaries of people with hearing loss not getting a bit nearer to what we all have, but the reverse that they got something almost clearer, purer and more direct than hearing people ever can.”
Staniford is excited by the prospect of new technology Auracast being rolled out further, as it could enable more concerts like the sound-free one. It’s a version of Bluetooth LE which allows high-quality audio to be broadcast by one device and picked up by an unlimited number of receivers.
“It basically offers universal streaming,” says Staniford. “So, a few years down the line, you could essentially do a sound-free concert supported by Auracast and welcome every CI user.”
Young says having Auracast introduced more widely at venues would be “game-changing” and White says she would go to more concerts if this technology was embraced by the live music sector.

Staniford and Webb are keen to do the concert again. They are analysing the questionnaire responses from the attendees to hopefully publish a white paper on what they achieved and how it can be developed.
“There’s been a lot of interest from big global CI and audiology conferences and organisations,” says Staniford. “We couldn’t do this if we welcomed every CI user. It was a conscious choice that for the first event we deliberately had to make it quite exclusive to be able to do these things.
“Now we’ve done it and shown it’s possible, it’s about expanding it to other cities, people, and audiences. Look at how we’ve created this experience that allows CIs to be considered tools of envy rather than equality. Look at how we’ve revolutionised how people think about music appreciation.
“Now we’ve done it. That’s how you expand inclusion.”
The post How a sound-free concert is streaming music to d/Deaf people’s brains appeared first on MusicTech.

fedDSP introduce Opto compressor plug-in The latest addition to the fedDSP line-up promises to deliver smooth-sounding gain reduction, musical movement and a ‘finished’ tone, all without sounding forced.

Charli xcx, A. G. Cook and Finn Keane on the importance of “crazy” demos as to not “kill songwriting”Charli xcx’s new album Music, Fashion, Film features some pretty out-there sounds, and its unique sonic textures are due to the initial bad demos that the were used as a springboard.
Speaking on a new episode of the Tape Notes podcast with producers A. G. Cook and Finn Keane, the trio answer a listener’s question regarding their early ideas, and when they know if something is a little too crazy to pursue or not.

READ MORE: “We had some quite heated talks about this”: This is the perfect number of tracks on an album, according to Charli xcx, A. G. Cook and Finn Keane

It turns out, the three of them feel nothing is off the table when laying down a new song, and if anything, the weirder their early demos are the better. While they still insist there is an element of quality control and purpose behind every decision, not stifling an early idea caused some of the most unusual tracks to flourish, such as the slow and trudging Card Declined.
Charli explains, “It never sounds strange to me, I think we’re all sort of on the same page [where] sometimes we will make something really bad and crazy but that’s okay. That’s the charm of us working together,” she says. “I don’t think anything particularly freaks us out, and if it does we can laugh about it.”

Cook adds that he believes in the ethos of “first idea, best idea” before Keane weighs in, “All of us are quite happy for the demos to feel quite rough for a while. There’s not this desire to immediately finish it and make it slick.
“If you’re getting too into the production then it kills the momentum of the song and the idea. And it also means you think about the production more and what’s important to keep and emphasise [if you leave things rough for a while], so I really like that way of working.”
Listen to the full podcast episode below:

Support Tape Notes on Patreon. Music, Fashion, Film by Charli xcx is out now.
The post Charli xcx, A. G. Cook and Finn Keane on the importance of “crazy” demos as to not “kill songwriting” appeared first on MusicTech.

I’ve finally found a unique reverb in Arturia Rev Ocean€49, arturia.com
Knowing which reverb to use in a given situation, not to mention how to sculpt the effect to fit perfectly into the mix, is an art. However, what’s complicating matters is the sea of reverb plugins currently available. Too many just rehash the same reverb algorithms developed for classic digital outboard, or are yet another convolution-based rendering of an acoustic space or vintage electro-acoustic reverb generator. Either way, it all starts to get rather boring.

READ MORE: Addictive Drums 2 vs EZdrummer 3 vs Superior Drummer 3: Which drum plugin is best?

Arturia’s Rev Ocean promises a tantalising route through this quandary. It features an algorithmic engine able to deliver a wide gamut of reverb types, and additional processing stages built right in that would usually require complex processing chains and routing. It could be the alternative to the scores of Lexicon clones and EMT emulations that I’ve been looking out for…
Image: Press
In what ways does Rev Ocean keep things simple?
The more advanced and powerful reverb plugins out there tend to display an abundance of parameters with which to shape every tiny detail of the effect. This is all well and good if you have the patience to actually want to shape those details, but the absence of such minutia from Rev Ocean’s interface is instantly inviting. More importantly, I quickly realise this clean interface doesn’t particularly limit the plugin’s versatility.
Ignoring for a moment the central, water-like visualisation, my attention is immediately drawn to a set of three large-ish rotary controls sat below said visualisation. These control familiar parameters of Size, Decay and Brightness, and function exactly as you would expect.
The Decay dial is accompanied by a Freeze button that, when enabled, instantly flips the Decay to its maximum setting, forcing the current reverb to continue indefinitely, while also muting the input to prevent new reverberations from being generated. The button has a latching behaviour, and so has to be pressed a second time to disable it, but I would much prefer the switch to be momentary, all the better for jamming with and creating spontaneous effects. At the very least, there should be a choice between latching and momentary behaviour.
Below these dials is a slider that controls the input’s high- and low-pass filters. Dragging either end of the slider adjusts the corresponding filter’s cutoff, leaving a central filled area that acts as an intuitive representation of the filter setup. My only gripe is that the filters can’t be adjusted simultaneously by dragging the central area of the slider.
The only other prominent controls are a pair of faders sat either side of the visualisation. The left-most slider controls the plugin’s Macro Modes feature, which I’ll come back to in a moment, while the right-hand Mix fader controls the wet/dry balance. This can be locked so it isn’t changed when presets are loaded, which is particularly convenient when using Rev Ocean as a send effect.
Preset browser. Image: Press
Controlling the details with Rev Ocean
Rev Ocean’s remaining controls are less prominent – not in any way hidden nor inaccessible, but backed-off visually to indicate their secondary, albeit important, role.
For example, positioned just below the Mix fader is a rotary that trims the wet signal’s volume by up-to ±24 dB. This is an uncommon control whose usefulness isn’t immediately apparent. However, as I discover, when used as an automation and/or modulator destination, it’s ideal for adding dynamic movement to the reverb.
The remaining parameters are presented simply as value fields. Here we find the vital Pre Delay setting, which can be defined in milliseconds or synced to the host’s tempo, a built-in ducker which reduces the reverb’s volume while the direct signal is sounding, a stereo width control, and a transient shaper. This last is particularly useful, reducing transients in the input signal in order to reduce or eliminate the sometimes-undesirable cracks and snaps they can cause in the reverb sound.
Freeze mode. Image: Press
What are Macro Modes, and what’s with the watery visualisation?
Macro Modes are the secret to Rev Ocean’s ability to move beyond plainer types of reverb into more creative realms. These apply a chain of effects to the reverb tail, shaping and processing it in different ways depending on which of the three available modes is selected.
Abyss mode applies the most sonically obvious processing, adding to the regular reverb signal multiple parallel reverse reverbs, some shifted up or down in octaves. The result is a shimmering, shifting reverb that can bring solo instruments and pads to life, and can sound surprisingly effective on snares.
Foam is harder to characterise; it turns the reverb tail into a dense, growing wash of resonant reflections that are somewhat tuned to match the source signal. I find this is most useful as a special effect, adding a dramatic flourish after a hit, note or riser.
The third mode, Tide, applies multiple slow, out-of-sync filter sweeps to create a phaser- or flanger-like effect within the reverb tail. The shifting, washing effect is somewhat unpredictable, and sounds particularly pleasing on pads.
Turning up the Macro Mode fader increases the prominence of its effect, and can also subtly impact details of the underlying processing. Similarly, and intriguingly, the other reverb settings also have an impact on the Macro Mode, as do the dynamics of the incoming signal. All told, this allows you to produce some remarkably complex, detailed and creative reverb effects with minimal effort.
The ripples and swirls of Rev Ocean’s visualisation, looking like light reflecting on water, needs a quick mention. It looks nice enough but, unfortunately, isn’t responding to the incoming signal; rather, it’s intended only to represent the plugin’s settings. It does this surprisingly well, but once you’ve got your reverb dialled-in the animation is little more than wasted CPU cycles, so it’s good that there’s a dedicated button for disabling it.
Finally, Rev Ocean comes with a sizable collection of presets, many of which showcase the Macro Modes system. The plugin also has a full undo/redo system that includes a popup history panel for quickly stepping through multiple undos/redos in a single click.
Undo history. Image: Press
Is Rev Ocean worth getting?
Most important of all is how Rev Ocean actually sounds, and I’m pleased to report there are no deficiencies in this department. The reverb engine doesn’t contain a choice of algorithms as you may find in other reverbs, but the reverb can moulded and shaped with ease, and is rich and detailed from initial onset to the dying moments of the tail, so I really don’t miss those traditional options of hall, room, chamber, and so on.
Also, while I was initially dubious about the Macro Modes system, worried it may be too static and contrived, it turns out the Macro Modes provide a ludicrously easy way of rustling up creative and striking reverb effects.
I like Rev Ocean a lot, and one of the things I like most is that it isn’t yet another Lexicon or EMT emulation, nor yet another convolution engine with accompanying impulse recordings. I’ll still be using those other reverbs, but only once I’m sure Rev Ocean won’t do a better job with less effort.

Key Features

Algorithmic reverb plugin (VST, AU, AAX and NKS)
Windows 11+ / macOS 11+, Intel or Apple Silicon
Macro Modes for processing reverb tail
Transient smoothing, ducking and stereo width control built in
Low-pass and high-pass input filters
Full undo/redo system with history panel
A/B switching and settings-swapping

The post I’ve finally found a unique reverb in Arturia Rev Ocean appeared first on MusicTech.

Can Apple make smart glasses that aren’t a constant privacy threat?As Apple prepares to launch its first smart glasses, the company may also be wrestling with how to address consumer privacy concerns.

Filling High Pressure CO2 Tanks From Sugar Fermentation GasAfter previously using the fermenting of sugar to obtain ethanol fuel, [Hyperspace Pirate] figured that it’d be a waste to just blast the other half of the yeast production in the form of carbon dioxide into the air. This poses the slight problem that gaseous CO2 is fairly bulky, while compressing it into a liquid isn’t exactly for the faint of heart. This of course means that it’s a fun challenge, involving a beach ball, vapor-compression and various compressors.
Although at room temperature compressing CO2 into a liquid requires quite extreme pressures, if you lower it to freezing temperatures it becomes quite feasible to use more typical off-the-shell compressors.
In the video both oil-less and regular compressors are used, mostly because ultimately you want to get pure CO2 into the bottle, without oil or water. Here a few methods are explored, including a pre-cooler with the oil-less compressor as it cannot quite hit the same pressures. With a typical compressor linked to an oil-separator you can directly fill the tank, which is pretty nice, though even with this removal of water turned out to be a chore.
Desiccating the gas that comes out of the fermentation vat, is attempted using a converted water filter that’s filled with desiccant beads, but as the later tests show, this isn’t quite good enough to prevent moisture to make it into the bottle and clogging its nozzle. Of course, moisture here is more acceptable than oil for most applications, so with some more work this could be quite a feasible method to fill bottles with liquid CO2 for various nefarious applications like paintball guns and more.

Air-G Audio Air-G Chorus PedalAir-G Chorus Pedal is part of Air-G Audio's Guitar Collection: a growing set of individual pedals built on the open source work of Airwindows, Chris Johnson's long-running project known for some of the most distinctive free DSP code in the audio world. Each pedal is a focused, single-purpose effect aimed at guitar players, and further down the road they're meant to come together into a single unified pedalboard. The Chorus Pedal is a stereo chorus based on StereoChorus by Airwindows. It thickens and widens the sound by simulating several slightly detuned, time-shifted copies, from a subtle shimmer to a lush, wide movement. SPEED sets the rate of the modulation, and with the SYNC button it locks to the DAW tempo in musical note divisions, chosen with the same knob. DEPTH sets how far it moves from the original pitch, WIDTH runs from mono through neutral to a wide stereo image, MIX blends dry and effect, and OUT trims the output level. A blue LED pulses at the chorus rate as a visual reference. The chorus thickens the tone even in mono, while WIDTH opens the stereo image when you have a stereo output. The footswitch is true bypass, tied to the host's own bypass. This chorus is also one of the four effects in Air-G Mods, already released in the Air-G Plugins Collection, which brings all four modulators (Chorus, AutoPan, Tremolo and Vibrato) together in a single plugin with a switch to move between them. As an individual pedal it trades that selector for a guitar-pedal presentation, and keeping the effects separate lets you build a chain of them from lighter, single-purpose plugins. Although its interface is styled as a guitar pedal, the Chorus Pedal works just as well on any source: individual instruments like pads, keys or bass, or full mix buses. --- Air-G Audio is a collection of plugins built on the open source code of Airwindows. The project is built around adding a graphical interface that makes the experience more comfortable and visual, along with a few features that expand the possible uses without straying from the original sound. The simplicity and lightness of Chris's code are the starting point and the guide. Thanks to Chris Johnson for making his work public and accessible. Air-G Audio exists because Airwindows exists. The Airwindows code used in this plugin is published under the MIT License. Air-G Chorus Pedal is free, no strings attached, same open spirit as Chris's own work. It also took real hours to build: designing, coding, testing, writing the manual. If it earns a spot on your board, a donation of any size makes a real difference in keeping this collection going. And if you want to support where it all comes from, Chris Johnson's Patreon is the most direct way to back Airwindows itself: patreon.com/airwindows. Available for Windows and Linux. System Requirements: Windows 10 or higher (64-bit) Linux with GLIBC 2.35 or higher (Ubuntu 22.04 / Linux Mint 21 or equivalent). All formats are VST3 64-bit. ***Windows note: the installer is not signed with a paid certificate, so SmartScreen may show a "Windows protected your PC" warning. Click "More info", then "Run anyway" to continue. This is expected and not a problem with the plugin. Read More

iZotope Japan is giving away VEA for FREE until July 31
iZotope Japan is giving away VEA, the Voice Enhancement Assistant plugin, for free until July 31st at 23:59 Japan time. The giveaway is part of the Japan-limited iZotope Mix & Master Sale 2026, which celebrates iZotope joining Boris FX. The broader sale runs until August 16th, but the free VEA offer ends much earlier, so [...]
View post: iZotope Japan is giving away VEA for FREE until July 31

Robinhood in talks with Crypto.com over prediction markets: WSJWhile prediction market companies in the US continue to face legal battles between state and federal authorities, Robinhood is reportedly considering expanding its services.

Warner Bros. lawsuit accuses Amazon of illegally poaching executivesThe lawsuit will likely renew debates about whether term employment agreements are enforceable under California. law

Team Repair Breaks Things to Teach People How to Fix ThemWould you buy a broken device, fix it, then return the repaired item? [Team Repair] hopes you will.
Many people would rather repair what they have than have to get a new device and deal with all the annoyances of shopping and getting used to a new item. The problem is, most people don’t have any experience fixing their broken electronics and are intimidated by the process. [Team Repair] has found that helping people through the process the first time is a big confidence boost, especially when they have a test piece to work with.
[Team Repair] started with workshops and now has a “Fixers Club” subscription box for 8-14 year olds where they will send a broken device every three months to fix. After the device is repaired, it gets sent back into Team Repair, or iFixit in the US, to be broken again and sent to the next fixer. For grownups, there is a similar smartphone repair kit, but it’s currently waitlisted. If you’re in the UK, they even have a classroom program if you want to recruit larger groups into your fixer corps.
Curious about other ways to get into repairing your own things? We don’t recommend starting with smart rings, but learning analog repairs like zippers or turning a laptop into a desktop could be good places to start?