Audient’s ORIA Mini review: A giant leap for hardware-hosted room EQ and monitor controlStarting at £249 / $299, audient.com
Audient’s full-size ORIA audio interface and monitor marked a turning point for the British brand in 2024. It’s revered for its audio interfaces and analogue mixing consoles, with increased investment in software control and onboard digital signal processing (DSP). ORIA handles immersive audio and comprehensive monitor control in an intuitive app, plus Sonarworks integration to calibrate the various monitor speakers.

READ MORE: Audient’s ORIA is the Atmos interface that engineers have been waiting for

Now we have an ORIA Mini. Mini distills the room EQ and monitor control functions of the original ORIA into a stereo package to use alongside your existing audio interface. Since it runs the room EQ on an internal DSP chip, it solves a lot of frustrations associated with running EQ in the software realm. These include excess latency, crashes, and significant annoyance with room correction plugins that don’t have system-wide audio routing (these need to be put on the mix bus and then bypassed when rendering a stereo mix).
ORIA Mini’s most obvious competitor is IK Multimedia’s ARC Studio, which has a £250 street price for the full hardware/software package. On the room EQ side, this is a similar system to ORIA Mini, with interface main outs routed through the box, and room EQ run in ARC Studio’s DSP using IK’s ARC system. ARC Studio is priced lower, but there’s only a single EQ profile stored on the box, there are no monitor controller functions, inputs are analogue only, and there’s no easy way to add a subwoofer to your system.
ORIA Mini overcomes all these issues and more; it might just be a must-have for your studio.
Image: Press
What connections does ORIA Mini have?
ORIA Mini is a neat desktop box that’s 1U in height and just under a 1/2-rack in width. Powered by its USB-C connector, it won’t add to your sprawling collection of external power supplies.
Analogue inputs and outputs are on balanced jacks – you connect your interface main outs to the inputs and your studio monitors to the outputs. There’s also an S/PDIF digital in, so if your interface has a digital out you can get audio to ORIA Mini without having to use its analogue-to-digital converters; a neater, cleaner signal path. Plugging your interface into the digital input means the analogue inputs are then freed up for something else — an aux input from a laptop headphone output, for example. You can simply switch between inputs in the ORIA Control software. A single subwoofer jack output is also present – more on that later.
The front panel is refreshingly uncluttered, with just four LEDs to indicate profile selection, simple meters to show audio activity/clipping, and a ring-illuminated Profile button, which is used to toggle between profiles but also controls bypass and standby mode with press and hold gestures.
iPad remote control. Image: Press
Getting started with ORIA Mini
The complete bundle — on review here — is highly recommended since you get an ORIA Mini, a Sonarworks measurement mic, plus Sonarworks licenses including SoundID Reference for Speakers & Headphones. ORIA Mini doesn’t have a headphone socket (plus Sonarworks Integrations don’t tend to include headphone support in any case), but when you’re away from your studio and plugging straight into your laptop, you can use SoundID Reference to apply corrective EQ to your favourite headphones, making mixes more transferable to other systems. An unexpected bonus.
There are alternative bundles for users who already have a SoundID Reference license, plus a Hardware Only option for those who prefer to calibrate their system using manual measurements.
When working with a pair of monitors and no sub, Sonarworks set-up is pretty much the standard fare; plug the included measurement microphone into a mic input on your interface, turn on phantom power and follow the instructions. The SoundID Reference measurement app emits various test signals through the monitors and gets you to place the microphone at several locations in the room, employing clever, clicky triangulation signals to find the right spot. Once measurement is complete you connect ORIA Mini using USB, open the measurement’s corrective EQ calibration in the SoundID Reference app and export it to ORIA Mini.
In the ORIA Control desktop app the Sonarworks EQ calibration can be saved into a new Profile within the unit’s DSP chip. ORIA Mini cycles between four favourite presets on the hardware, but you can store up to 32 different profiles that can be promoted to the top four at will. Alternatively, per-channel manual EQ is also possible, but this is limited to eight bands.
In addition to room EQ, ORIA Control features prominent level meters, plus a range of handy monitor controls such as main volume, channel solo/mute, dim, mono, polarity flip, plus trim, delay and crossover settings for each channel. iPad remote control of the app is available and is a breeze to set up. There’s an ORIA plugin for Stream Deck too. (If you haven’t yet used a Stream Deck, you’re really missing out..)
The ORIA Control desktop app with a Sonarworks room EQ calibration loaded in. Image: Barry Watson
Going deeper with ORIA Mini
To add a subwoofer, ORIA Mini takes the incoming stereo input and outputs it to the stereo outs and Sub out using bass management; the sub here isn’t fed by a dedicated output on the audio interface like in surround setups. Bass management essentially high-passes your main monitors at a set crossover frequency so they no longer have to manage ultra-low frequencies, instead leaving those frequencies for the sub. Apart from deeper bass extension there’s also the advantages of reduced chances of distortion and port resonances from the main monitors, plus less bass build-up due to monitors being placed close to walls.
The set-up is a little more involved here. The first step, before running any Sonarworks measurement, is to plug the monitors and sub into ORIA Mini and engage the crossover to high-pass the left/right speakers in ORIA Control. Next, you re-run the Sonarworks measurement process with ORIA Mini inline and the sub turned on. Sonarworks produces a new stereo calibration file which can be exported to ORIA Mini with an identifying name, e.g, ‘Sub on’. You then leave alone the settings on the sub and ensure that the crossover on the main L/R speakers is set to the same frequency as in the measurement process.
There’s loads of flexibility here. You can start by measuring a standard stereo setup without a sub, and then run through the process above to create a Profile with the sub and bass management in the chain (you’ll need to make sure the Sub out is muted on all Profiles that don’t use the subwoofer). Then you have a simple way of switching between a studio/domestic’ listening system and one that approximates the sound of your track played through a club system, all with calibrated EQ and channel trim/delay time.
This is a big deal. Most affordable monitor controllers don’t feature a way of integrating a sub unless it’s permanently placed inline with the main monitors, which means you also need a sub that can handle bass management internally. In this situation there’d be no calibration of level or EQ and you wouldn’t be able to easily switch between listening to your monitors in full range versus high-passed monitors with bass extension and sub enabled. Putting this in context, bass-managed monitor controllers from the likes of Grace are 10x the price of ORIA Mini.
Image: Press
What’s ORIA Mini like to use?
ORIA Mini is a joy to use. I soon wonder how I managed to get things done efficiently before it arrived. I swiftly get accustomed to reaching for the iPad app instead of the volume knob on my audio interface since far more control is easily at hand.
Better still, after setting up a custom Stream Deck layout for my most-used functions, I’m able to work even more efficiently, relishing the convenience of hardware control and not having to shift focus on screen. A brief listen in mono and a translation check on (virtual) phone speakers are both really immediate yet crucial quality control checks that I might otherwise avoid if I have to switch apps and perform multiple mouse clicks before switching back to the DAW.
The ORIA Control profile running on Stream Deck. Image: Barry Watson
Speaking of translation checks, this is an aspect where ARC Studio has the upper hand. Since Studio is controlled directly by IK’s ARC app, you can quickly load virtual monitoring over the top of the room EQ, and change the target curve at the press of a button (e.g. having a target curve with full high-mids for critical listening, and a less fatiguing, scooped-mids target curve for general listening).
With ORIA Mini, since Sonarworks calibration is fixed once loaded into DSP, you need to, using SoundID Reference, export each and every translation check and version of the target curve as separate profiles for ORIA Control. But I personally don’t necessarily see this as a negative. I’d rather select a couple of different target curves and a few crucial translation checks, export them to ORIA Mini, and then proceed to work without the novelty and distraction of checking my mix on 20 different systems.
The measured response of my studio monitors with the smartphone speaker Translation Check added on top. Each different Translation Check or target curve needs to be exported as a new ORIA Control profile. Image: Barry Watson
Should I buy ORIA Mini?
ORIA Mini is essential for anyone frustrated with software room EQ or buried monitor controller functions. The Complete Bundle is a standout bargain—arguably the best £379 you’ll spend on your studio.

Key features

Room EQ system and monitor controller with Sonarworks integration
For stereo monitors, with/without subwoofer
Bus-powered via USB-C
Near-zero latency
4 switchable calibration profiles toggled from the hardware / 32 profiles can be stored in total
ORIA Control app for desktop
Volume, channel solo/mute, dim, mono and polarity reverse switches in software
18-band EQ Sonarworks calibration / 8-band manual calibration
Remote control via iPad app and Stream Deck
Delay time, output trim and crossover frequency (bass management) controls per channel
Stereo TRS jack inputs and outputs
Optical S/PDIF digital input (supports 44.1 kHz to 96 kHz sample rates)
Single TRS jack subwoofer output
Further profiles available in control software
Signal status LEDs
Dynamic range: ADC 122.5 dB(A) / DAC 127 dB(A)
Max input / output level: +18 dBu
Comes with USB-C cable

 
The post Audient’s ORIA Mini review: A giant leap for hardware-hosted room EQ and monitor control appeared first on MusicTech.

The FTC Sues Live Nation and Ticketmaster – NIVA RespondsThis week, Ari is joined by Stephen Parker of NIVA to discuss the FTC’s lawsuit against Live Nation and Ticketmaster.

Roland TR-1000: 40 years after the TR-808 and TR-909, the brand’s first analogue – and most powerful – drum machine has landedWell, it actually happened. More than four decades after the TR-808 and TR-909 rewrote the rulebook on rhythm, Roland has launched a brand new analogue drum machine: the TR-1000 Rhythm Creator.
Built with and for artists to “catalyse the next evolution of rhythm culture”, the TR-1000 fuses analogue circuitry, modern digital sound engines, and a performance-focused user interface into one hulking groove factory.

READ MORE: “It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum Berlin

Roland knows the weight of its legacy. The 808’s boom and the 909’s snap became the backbone of hip-hop, techno, house, trap, and pop itself. The TR-1000 doesn’t just nod to that history – it carries it forward with 16 freshly built analogue voices lifted from those original circuits, but expanded with wider ranges, better dynamics, and velocity response for today’s players.
And that’s just the start. The TR-1000 also packs Roland’s most advanced digital arsenal yet: 21 circuit-bent TR-808 and TR-909 models built with Analog Circuit Behavior (ACB) technology, FM percussion, virtual analogue tones, and a deep PCM library. It also boasts full-blown stereo sampling, 64GB of onboard memory (46GB for your own samples), and over 2,000 built-in sounds. Capture, resample, slice, and time-stretch until your tracks explode.
Credit: Roland
Tone-shaping is equally over the top. There’s a new analogue state-variable filter (SVF) inspired by vintage Roland OTA designs (like the JUPITER-6), a dedicated analogue drive, and, of course, an absolute buffet of digital effects. Each track combines a model-specific sound generator, compressor, multimode filter/four-band EQ, and amp/envelope control. Four of the available tracks allow for two sound generators to be stacked or programmed separately with per-track FX, internal sidechaining, output routing, and a three-target LFO.
Then there’s the sequencer, one Roland calls its “most advanced yet”. Users can program at lightning speed, push rhythms off-grid, and slam the new Morph slider to mangle beats in real time. The snapshot feature, meanwhile, creates playable step buttons that instantly recall any knob position for an instrument.
And yes, the TR-1000 Rhythm Creator built for modern rigs. With flexible I/O, CV integration, analogue FX output, and a slick desktop companion app, the TR-1000 slots into both studio and stage setups with ease.
As you’d expect, all this wizardry doesn’t come cheap: the TR-1000 lands at $2,699.99. Which is quite the price tag, but considering you’re getting Roland’s first analogue drum machine in 40 years plus pretty much every modern production convenience bolted on, it’s about as fully loaded as drum machines get.

Learn more Roland. 
The post Roland TR-1000: 40 years after the TR-808 and TR-909, the brand’s first analogue – and most powerful – drum machine has landed appeared first on MusicTech.

SOL retail longs briefly flushed, but traders’ bullish forecast unchangedSOL late leverage longs got rinsed by the flash crash to $205, but data shows pro traders buying the dip and retail traders opening fresh spot and margin positions.

PRS Guitars to Auction Rare Guitar for Rainforest Sustainability CharityPRS Guitars announced on Tuesday that is had launched, "an auction for a one-of-a-kind guitar made from reclaimed and salvaged woods. Designed as an employee guitar for 40-year PRS veteran Michael Reid (pictured), the company’s senior wood buyer, the guitar was built specifically as a fundraiser to protect rainforests. The guitar is a PRS McCarty 594 Semi-Hollow with a top, back, neck, and headstock veneer of mahogany from trees blown down in Puerto Rico during 2017’s Hurricane Maria. It has been hand-signed by Paul Reed Smith. 100% of the proceeds will be donated to rainforest charity Cool Earth, who work with Indigenous people to protect vital rainforests. Puerto Rico, Cuba and Brazil, where the guitar’s materials are sourced, all contain rainforests."

"The auction runs September 30-October 10, 2025, from noon to noon (Eastern Time). Interested buyers can bid now at https://www.ebay.com/itm/226999416890," they said.

“Our hope is to give back to the communities that live in the rainforests and to help protect such  paramount resources. They're a special people, and it is extremely rewarding to be able to help with the proceeds from selling this extraordinary guitar. Additionally, the guitar is sort of a  physical representation of Puerto Rican poet Lola Rodriquez de Tio's poem 'A Cuba,' where she describes Cuba and Puerto Rico as being like two wings of the same bird,” said PRS Guitars Senior Wood Manager, Michael Reid. 

"Michael obtained the mahogany from a vendor in Puerto Rico, who salvaged logs from a dumpsite where they were scheduled to be mulched," they continued. "As the guitar’s main wood is a Caribbean species often referred to as Cuban Mahogany, Michael decided to have the fretboard feature an inlay of the skyline of Old Havana, Cuba. The headstock is emblazoned with the Cuban flag. The fretboard is rosewood reclaimed from old Brazilian homes that were falling down and razed. From the Atlantic Forest region of Brazil, the wood averages between 75-150 years old. The intricate inlay features mother-of-pearl, Paua, and other materials, created in partnership with Maryland-based Aulson Inlay."

“It was a real wow moment when we found out what PRS Guitars had in mind to help raise  money. Money raised from this auction will have a real impact on the rainforest as well as the people who live there and protect it. The history of the guitar, made from materials worn by weather and storms, is tragically, but beautifully intertwined with the impact a changing climate has on the livelihoods of people who live in rainforest regions. A huge thank you to PRS Guitars,” said Cool Earth Partnerships Executive, Rebecca Leach.

"This auction represents PRS's commitment to environmental stewardship through partnerships with nonprofits across the globe. Rainforests are critical environments that contribute to a thriving global ecosystem, providing large carbon sinks where they are responsible for storing twice as much carbon as they emit. Hurricane Maria took down swathes of these carbon  guardians on its pass of the island in 2017, but what was found on the ground was transformed into a testament to the resilience of the rainforest, the spirit of rebirth, renewal, and the healing nature of music."

"Indigenous peoples and local communities manage 54% of the world’s remaining forests. Formed in 2007, Cool Earth exists to give funds and data directly to rainforest communities, to create choice, tackle the root causes of deforestation and protect these vital carbon sinks. 99% of the rainforest is intact where they work. Cool Earth’s work ranges from giving cash to communities so they can adapt to climate change and say no to loggers who want to buy their forest, providing data and training so communities can monitor the health of their forests and supporting local economies so communities can generate sustainable incomes. As of early 2025, 58,000 Indigenous peoples have been supported by Cool Earth, helping to protect 2.1 million acres of forest for future generations, keeping half a billion tons of carbon where it belongs, and ensuring 380 million tropical trees are still standing."

"NOTE: As this guitar contains Brazilian Rosewood, which comes with strict regulations that vary by country, the winner of the auction must be in the United States."

"This special auction follows last week’s launch of the PRS S2 Special Semi-Hollow Reclaimed Limited Edition, of which only 700 will be made in 2025."

"PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok,  Facebook, X, and YouTube."The post PRS Guitars to Auction Rare Guitar for Rainforest Sustainability Charity first appeared on Music Connection Magazine.

A breach every month raises doubts about South Korea’s digital defensesKnown for its blazing fast internet and home to some of the world’s biggest tech giants, South Korea has also faced a string of data breaches and cybersecurity lapses that has struggled to match the pace of its digital ambitions.

Universal Audio launches UAD Showtime ’64 Tube Amp as a FREE plugin
Universal Audio has released UAD Showtime ’64 Tube Amp, a free native amp simulation plugin for macOS and Windows (no UAD hardware required). The plugin is available for free download via the UA Connect app from October 1 through October 31, 2025. Showtime ’64 is a faithful recreation of a 100-watt Fender Showman amp that [...]
View post: Universal Audio launches UAD Showtime ’64 Tube Amp as a FREE plugin

Hard Hat Becomes Bluetooth Direction FinderHave you ever wanted to find a Bluetooth device out in the wild while looking like the comic relief character from a science-fiction series? You might like Dendrite, the direction-finding hat from [SolidStat3].
Dendrite is intended for hunting down Bluetooth devices. It’s capable of direction estimation based on signal strength readings from four ESP32 microcontrollers mounted on an off-the-shelf hard hat. Each ESP32 searches for BLE devices in the immediate area and reports the apparent signal strength to a fifth ESP32, which collates readings from all units. It then runs a simple multilateration algorithm to estimate the direction of the device. This information is then displayed via a ring of addressable LEDs around the perimeter of the hat. White LEDs marking the direction of the detected device. The only problem? You can’t see the LEDs while you’re wearing the hat. You might need a friend to help you… or you can simply take it off to see what it’s doing.
Ultimately, this project is a useful direction-finding hard hat that would also make a perfect prop from an episode of Inspector Spacetime. We’ve covered direction finding in other contexts before, too. Meanwhile, if you’re cooking up your own innovative hard hat (or radio) hacks, don’t hesitate to let us know!

Audient launch the Oria Mini Audient’s latest hardware release sees them team up with renowned room-correction experts Sonarworks to create a compact, powerful hardware system designed to help studio users get the best results out of their room. 

Spotify leadership update: Daniel Ek explains why he’s stepping back as Spotify CEO to become Executive ChairmanDaniel Ek and Spotify's new Co-CEOs Alex Norström and Gustav Söderström participated in a Q&A about the leadership transition. MBW listened in on the call. Here's what stood out...
Source

ORIA Mini: Audient and Sonarworks team up on portable “professional-grade” acoustic calibration deviceIf you’re a producer or mix engineer, you’ll know the feeling of disappointment when you take a mix which sounds perfect, play it in a new setting and it doesn’t quite hit in the same way.
But with their innovative new ORIA Mini, Audient and Sonarworks seek to eliminate that problem.
A “compact yet powerful” room correction system, the ORIA Mini delivers “professional-grade” acoustic calibration in a dedicated hardware device, granting creators, producers and studio owners the confidence to “trust every mix”, with no software, CPU strain or latency.

READ MORE: Telepathic Instruments Orchid: wildly popular synth and chord generator from Tame Impala gets its global release

But how does the ORIA Mini work, exactly? Well, it sits as a hardware DSP solution between your audio interface and speakers, and measures and corrects the acoustic imperfections of any space – whether it’s a home studio or professional control room. The device then applies corrective calibration directly via its onboard DSP.
Audient and Sonarworks say this ensures accurate, reliable monitoring without having to rely on plugins or system-wide software.
Powered by Sonarworks’ SoundID Reference technology, the ORIA Mini boasts 32-bit converters, 127dB dynamic range and support for up to 2.1 speaker systems, while users can load up to four unique calibration profiles to the unit and switch between them instantly.
Credit: Audient
With Sonarworks, users can even create calibration profiles that simulate different playback environments like a car or mobile phone, to check how their mix will sound in these common listening scenarios.
“Every engineer knows the frustration of chasing mixes that don’t translate outside the studio,” says Andrew Allen, Product & Marketing Director at Audient. 
“The truth is, your room is usually the problem and if you can’t trust what you’re hearing, you can’t trust your mix. ORIA Mini fixes that in minutes, giving you a professional monitoring environment you can actually trust and the confidence to unlock your best mixes yet.”
“We understand whilst room correction has such a positive impact on your ability to achieve great mixes it is also complicated!  It is for that reason that ORIA Mini is designed to be a set and forget box – offering consistent, reliable performance with ultra-low latency, doing its job quietly in the background with zero fuss. No crashes, no CPU strain – just high resolution, consistently accurate monitoring whether you’re mixing in your DAW or simply streaming music via Spotify.”
Credit: Audient
“At Sonarworks, our mission has always been to help creators hear every detail with confidence, no matter where they work. With ORIA Mini powered by SoundID Reference, that promise extends into a dedicated hardware solution – giving creators studio-accurate sound without CPU strain, latency, or workflow disruption,” says Martins Polelis, CPO at Sonarworks. 
“By correcting room imperfections and ensuring mixes translate across every playback system, ORIA Mini embodies the core of what Sonarworks delivers: consistency, reliability, and freedom for creators to focus purely on their music.”
Importantly, calibration and setup is simple, and can be done in just 20 minutes, according to Audient and Sonarworks.
Pricing & availability
The ORIA Mini is available now in the following configurations:
ORIA Mini + SoundID Reference Complete Bundle – £379 / €439 / $449
Ideal for users just getting started with room and monitor calibration. Includes ORIA Mini hardware, SoundID Reference for speakers for Speakers and Headphones license, SoundID Reference Measurement Microphone.
ORIA Mini Add-On Bundle – £335 / €398 / $398
For existing SoundID users, or users with multiple ORIA Minis, this bundle includes ORIA Mini hardware, SoundID Reference for ORIA Mini Add-on License and SoundID Reference Measurement Microphone)
ORIA Mini hardware only – £249 / €299 / $299
Includes ORIA Mini hardware and SoundID Reference Measurement Microphone
Learn more about the ORIA Mini at Audient.
The post ORIA Mini: Audient and Sonarworks team up on portable “professional-grade” acoustic calibration device appeared first on MusicTech.

Daniel Ek is stepping down as Spotify CEODaniel Ek is stepping down as CEO of Spotify, and will step into an Executive Chairman role from 1 January 2026.
Spotify co-presidents Alex Norström and Gustav Söderström are to step in as co-CEOs, it has been announced.

READ MORE: Spotify to crackdown on AI “slop” in bid to protect artists

“Spotify has a strong leadership team in place and a solid plan we are executing against. That’s not changing.” Ek writes in a statement on Spotify’s Newsroom.
“What changes is my time and focus. As Executive Chairman, I will spend more of my time on the long arc: strategy, capital allocation, regulatory efforts and the calls that will shape the next decade for Spotify.”
Ek notes that Norström and Söderström will continue to report to him, and the three will “work closely together” with Spotify’s Board of Directors.
He goes on: “Why now? Because Alex and Gustav have clearly demonstrated that, with the support of this remarkable team, they are ready to lead Spotify as co-CEOs. And because you all have stepped up, I can confidently step back from the day-to-day.
“Together, we’ve shown the world that Spotify is not only a great product but also a great business – delivering our first full year of profitability in company history. We couldn’t be better positioned. And to be clear, I’m not leaving. I’ll remain deeply involved in the big, defining decisions about our future, partnering with Gustav and Alex as they lead the way forward.”
Ek notes that part of his new focus will be on building “more Spotifys” and “more of these super-companies”. He describes his intention to create “companies that are developing new technologies to tackle some of the biggest challenges of our time.”
Daniel Ek drew criticism earlier this year when it was revealed that his investment company Prima Materia led a €600 million investment in AI military weapons company Helsing, of which Ek is also Chairman.
The move sparked several high-profile artists to remove their music from Spotify, including King Gizzard & the Lizard Wizard, Deerhoof, and Xiu Xiu.
After English trip-hop collective Massive Attack also announced their intention to remove their music from the platform, Helsing issued a statement responding to the “misinformation” surrounding its activities.
“Currently we see misinformation spreading that Helsing’s technology is deployed in war zones other than Ukraine,” the company wrote on its website. “This is not correct. Our technology is deployed to European countries for deterrence and for defence against the Russian aggression in Ukraine only.”
Read more about Spotify’s leadership changes via its Newsroom.
The post Daniel Ek is stepping down as Spotify CEO appeared first on MusicTech.

Facebook Marketing for Musicians: New tools to grow a fanbaseFacebook has added tools that can bring musicians and creators and their fans together. Discover how to use Facebook marketing for musicians to grow a fanbase, boost engagement, and build a loyal superfan community. Learn practical strategies like fan challenges, custom badges and more.
The post Facebook Marketing for Musicians: New tools to grow a fanbase appeared first on Hypebot.

Free Healthcare For Musicians and Industry ProfessionalsAffordable healthcare has always been a problem for musicians and music industry professionals. Recent cuts to federal subsidies will only exacerbate the problem. This is happening at a time when premiums and other costs are on the rise. While not the same as full health insurance, some programs are expanding. They aim to offer access to free healthcare for musicians and music industry professionals.
The post Free Healthcare For Musicians and Industry Professionals appeared first on Hypebot.

smaolab M4L POP DRUMMER POP Drum Step Sequencer M4L POP Drummer is a new Max for Live Multi Track Step Sequencer with original features: Create modern POP sequences & FILLS using the special Wizard function. Access up to 8 tracks (Polyphonic). Remix your production in real time. Create groovy beat sequences using an advanced special Roger LinDrum Swing mode. And many more features. A functional Demo is available :-). Video: https://youtu.be/4YI_hPNFEOY?si=nicp_bdYNGPvFcwg Read More