Fans already search by name for faster and slower versions of songs. When your song appears in those results, an official release lets those listeners find the versions on your artist profile beside the original.

Plays on a fan upload do not count as streams for your release. Official versions count, and they earn royalties in the same way as any other track. Putting out versions of an older catalogue song can bring new listeners to it too, which gives you a reason to return to music you already own or control.

Dutch producer Ahrix first put out Nova in March 2013. It has nearly 90 million Spotify plays, and its official sped up and slowed + reverb versions are out now through RouteNote. You can use this release as a guide when planning your own.

See what your listeners are searching for

Begin with the name of your song, then add sped up or slowed + reverb to the search. Run a separate search for nightcore as well. Check the uploads that come up and their view counts so you can spot where listeners have shown interest.

When several uploads appear, check more than the biggest one. As you work out what to release, compare how much interest there is in sped up edits and in slowed + reverb versions. Those searches can help you decide which version to tell your listeners about.

At the time of writing, a YouTube search on 15 October 2026 returned 58 fan uploads of Nova edits. Together they had about 2.7 million views. The biggest slowed + reverb upload had about 1.09 million views. Nova’s official YouTube video had about 26.7 million views.

That fan-upload total counts YouTube alone. Edits on TikTok and SoundCloud were left out of it. If you want to find other places where fans share versions of your own song, look at those platforms as well.

Check the rights before you start

You must own or control the recording that you intend to release. Where a label holds rights in your master, sort out the release with them before anything else. Speak to a licensing partner if an existing arrangement covers your recording.

A collaborator might hold rights in the master as well, so bring them into that discussion before you prepare your versions. Look at the recording’s current rights arrangements to see whose permission you need.

If you want your versions to be usable in social videos, confirm eligibility before you pick those destinations. RouteNote delivers to TikTok and Instagram/Facebook, and our programmes need audio that you control exclusively. YouTube Content ID also calls for exclusive control, as our eligibility guidance sets out.

Try speeds using your original files

Begin with your original master files when you make versions for release. If all you have is a download or a stream rip, return to the original files before you carry on.

You can test speeds with RouteNote Convert’s free Tempo Changer, which allows you to hear settings from 0.5x to 2x before you settle on one. Go to RouteNote Convert to use it with no account.

Give each version the right release details

After your versions are ready, use our release setup guide to build the release. Keep the song title the same across the recordings so people who search for your song can find each version.

For a release such as Nova (Sped Up/Slowed + Reverb), the song title stays Nova. Put the version details in the version or title version field. That shows stores and fans which recording they have found.

• Version names: Put Sped Up for the sped up recording and Slowed + Reverb for the slowed + reverb recording. Match every entry to the audio you send in.
• ISRCs: Allocate a separate ISRC to each version since each one is a new recording. Our guide to reusing ISRC codes sets out when you can use an existing code.
• Song title: Keep the same underlying song title for both recordings, and place the version details in its own field.
• Songwriting credits: Bring across the credits from the original. The composition is unchanged, so the songwriting credits remain the same.

Plan ahead if you want to pitch

Pick your release date with pitching in mind. We suggest sending your release at least four weeks early so there is time for a Spotify editorial pitch. Work back from the date you choose when you decide when to submit it.

Inside Spotify for Artists, you can pitch a single unreleased track at a time. Send that pitch at least seven days before release. When you put out two versions together, as Ahrix has done with Nova, pick one of them to pitch.

Help fans find your official release

As you get the release ready, you can create a free pre-save page with our partner PUSH.fm. Share the page before release so fans have a place to pre-save the versions you are telling them about.

After the music goes live, use a free PUSH.fm fan link to send listeners to the official release. Include the full version names in your announcement so anyone looking for the slowed + reverb recording can spot it from your post.

Before you share it, open your link and confirm that it goes to the release you are announcing. If your post mentions a certain version, check that fans can reach that recording from the page you send them to.

Listen to Nova’s official versions

Nova (Sped Up/Slowed + Reverb) came out on 16 October 2026 through RouteNote. Both tracks, Nova (Sped Up) and Nova (Slowed + Reverb), are available now on streaming services.

Fans have uploaded their own edits since 2015. You can hear the official versions now on Ahrix’s artist profile, and both recordings are in the release below.

Distribute your sped up and slowed + reverb versions with RouteNote for free

The post How to release sped up and slowed + reverb versions of your music appeared first on RouteNote Blog.

CMF, the budget-friendly brand created by Nothing, has introduced its first wireless speakers, the CMF Speaker S and CMF Speaker M. Available in two sizes, the new models offer a choice between a portable, compact speaker and a more powerful option designed to fill a room.

With customisable panels and physical controls, CMF’s debut speakers bring a distinctively CMF look compared to many conventional speakers.

Design and physical controls

Both speakers have an upright, boxy shape inspired by a milk carton. They’re available in four colours: white, dark grey, orange and turquoise. 

The design is more than a visual talking point too. Each speaker has a multifunction knob on the front for adjusting volume and controlling playback, including track navigation. On the back, dedicated buttons handle power, Bluetooth and Auracast. 

Customisation is another unique design feature. The front panel and control knob can be removed and replaced, with CMF providing guidance for people interested in 3D-printing their own designs.

The two models also have different features to help with carrying them around. The Speaker S includes a carabiner-style utility hook, while the larger Speaker M has a built-in handle.

Sound quality and listening features

The CMF Speaker S uses a custom-tuned 45mm driver covering a frequency range of 70Hz to 20kHz. Two passive radiators help reinforce the lower frequencies, giving the compact speaker more bass presence than its single-driver configuration might suggest.

The Speaker M takes a different approach, pairing a 70mm woofer with a 16mm tweeter. With 35W RMS output and a stated frequency range of 60Hz to 20kHz, it’s designed to deliver deeper bass and greater separation between lower and higher frequencies. 

Both speakers support several sound modes and EQ adjustments through the Nothing X app. Four EQ presets are available from the jump: Balanced, More Bass, More Treble and Voice. You can also fine-tune the EQ to suit your preferences.

Stereo Mode lets you pair two identical speakers to create separate left and right audio channels, producing a wider stereo image than a single speaker. You’ll need to pair two Speaker S units or two Speaker M units, as the models cannot be mixed in a stereo pair.

Other features include Adaptive Tuning, which automatically adjusts the EQ to the music being played. Ultra Bass adds extra low-frequency impact, and Wide Soundstage is designed to create a greater sense of space from a single speaker.

These features offer flexibility for everyday listening, whether you’re playing music while working, sharing tracks with others or listening around the home.

Portability, battery life and connectivity

Both CMF speakers offer up to 18 hours of playback on a single charge. This figure is based on listening at 50% of volume with Ultra Bass enabled, so actual battery life will depend on volume and usage.

A full charge takes approximately three hours, while a 10-minute fast charge is claimed to provide an hour of playback. They also have an IP68 rating for dust and water resistance, and CMF says they can withstand submersion in up to 1.5 metres of water for 30 minutes. That makes the speakers more than suitable for listening in a range of outdoor settings.

Connectivity options include Bluetooth 6.0 provides wireless playback and NFC for pairing compatible smartphones in a tap. Google Fast Pair and Microsoft Swift Pair are also supported on compatible devices.

Both speakers can maintain connections to two Bluetooth sources, making it easier to switch between a phone and laptop without repeatedly disconnecting and pairing devices.

For wired listening, a USB-C connection provides lossless digital audio with latency below 60 milliseconds. This could make them useful for desktop listening, videos and other situations where synchronisation matters. 

The speakers also support Auracast-based Party Mode, which can synchronise playback across multiple compatible speakers, including supported models from other brands.

Night Mode reduces overall energy and low-frequency output, with maximum loudness limited to around 60% of Standard Mode.

Pricing and availability

The CMF Speaker S and Speaker M are available now in white, dark grey, orange and turquoise through Nothing’s website and Amazon.

The compact CMF Speaker S is available to order now for $59 on Amazon, while the larger, more powerful CMF Speaker M is available to order for $109.

The post CMF launches its first portable speakers with the Speaker S and Speaker M appeared first on RouteNote Blog.

Since launching its first pair of over-ear headphones last year, British tech company Nothing has continued to expand its range with the Headphone (a) and now the Headphone (1) Pro. We reviewed the original Headphone (1) last year, and the Pro builds on that distinctive design with a new triple-driver sound system, improved noise cancellation and a dedicated Flat Mode.

I’ve been using the Headphone (1) Pro as my daily pair of headphones for the past week, and here’s how they stack up.

Unboxing

Nothing has delivered another nicely presented package. A thin cardboard sleeve featuring an image of the headphones slides off to reveal a silver box. Unlike the original Headphone (1), there’s no embossed headphone design on the front this time around.

Inside, you’ll find the headphones in their new carry case, alongside a small white box containing the quick start guide, a 3.5mm audio cable, a USB-C to USB-C cable and strap loops.

Design and comfort

I’m a big fan of Nothing’s unique approach to product design, and the Headphone (1) Pro is no exception. The translucent earscups contrast with the aluminium frame and titanium arms, giving the headphones a distinctive, industrial look that feels premium.

Available in black or white, I’ve been testing the black version. It looks sleek without losing the unconventional design that makes Nothing’s products stand out. The words ‘Nothing Headphone (1) Pro’ are printed on the small translucent window on each earcup, adding to the overall aesthetic.

Comfort is generally excellent, too. The headband and ear cushions are very soft, and despite weighing 327g, the headphones don’t feel noticeably heavy when worn.

As someone who wears glasses, I’m always a little wary of over-ear headphones. The Headphone (1) Pro felt comfortable for a good while, although the pressure around the arms of my glasses eventually became noticeable during longer listening sessions. So, while they’re comfortable overall, they’re not completely free of the usual glasses-related issues.

One of the biggest changes is the redesigned carry case. Unlike the original Headphone (1), which came with a larger case and spaces for its cables, the Pro’s case only covers the earcups. This leaves the headband and frame exposed, with no room to store the cables or charge the headphones through the case.

The headphones still rotate rather than fold inwards, making them less convenient to pack away. They were just about manageable in my work bag, but took up more space than I’d have liked.

Together, these things aren’t deal breakers. The earcups are protected, I can carry the cables separately if I need to, and the exposed headband gives me something to grab when carrying the headphones around. Still, the case feels like an odd compromise for a premium pair of headphones.

Controls

The physical controls are another highlight. Rather than relying on touch-sensitive gestures, the headphones feature six physical controls. They’re tactile and intuitive, giving the headphones a satisfying, throwback feel that feels very on-brand for Nothing.

The right earcup houses most of the controls. A roller adjusts the volume, pauses or resumes playback when pressed, and can be held down to switch noise cancellation modes. Just below it, a paddle lets you skip tracks, rewind or fast-forward, and answer or end calls. There’s also a customisable button that can be assigned to functions such as activating your voice assistant, muting the microphone or controlling your phone’s camera.

A Bluetooth pairing button sits on the inner side of the right earcup, while the new Flat Mode switch is on the inner side of the left earcup. There are quite a few controls to get used to, but after a day or so, they became a natural way to manage playback without reaching for a phone.

My only minor gripe is with the power switch. It’s ever-so-slightly more fiddly and inconvenient than a simple button would be. It’s a small complaint, but I’d still take these physical controls over touch gestures any day.

The headphones also feature wear detection, automatically pausing playback when you take them off and resuming when you put them back on.

Connectivity

I connected the headphones to my iPhone 16 and used them with Apple Music, and the controls worked exactly as expected. 

I also tested the multipoint connection between my iPhone and Mac, which lets the headphones stay connected to both devices. Switching between them was seamless, making it easy to move from listening to music on my phone to audio on my Mac.

You’re not limited to wireless listening either, with the headphones also supporting USB-C and a traditional 3.5mm connection. 

Sound and active noise cancellation

The Headphone (1) Pro really delivers where it matters most. These headphones sound impressive, with plenty of bass, clear vocals and detail that brings familiar tracks to life.

The bass gives tracks plenty of weight without being overwhelming. I also found the headphones handled higher volumes much better than the original Headphone (1). I rarely felt the need to push them to their limit, and with ANC enabled in the gym, they were more than loud enough to drown out any music playing over the speakers.

That’s where the active noise cancellation comes into its own. The ear cushions already help keep some outside noise at bay, but switching ANC on takes things considerably further. I was able to block out most of the surrounding noise on both overground and underground trains, and focus on my own music at the gym.

You can adjust the ANC strength through the Nothing X app, choosing between low, mid, high and adaptive modes. I switched between adaptive and high ANC depending on where I was listening. There’s also a transparency mode and an option to turn noise cancellation off entirely. When switching to transparency mode, the headphones retain the “disturbing” breath sound effect from the Nothing Headphone (1).

Overall, the combination of strong sound and effective noise cancellation made a noticeable difference to my everyday listening.

Flat Mode

One of the key additions to the Pro is Flat Mode. Activated by a physical switch on the headphones featured earlier, it bypasses the usual sound profile in favour of a more neutral tuning developed with London’s Metropolis Studios. 

It’s an interesting option for anyone who wants to hear music without the extra frequency boosts applied by the standard EQ. As someone who usually listens through AirPods, I found Flat Mode brought the sound closer to the more neutral presentation I’m accustomed to. 

I found Flat Mode particularly useful for podcasts, TV and videos, where I preferred a more natural sound without any extra sound enhancements. 

For producers, musicians and DJs, this neutral option could be particularly appealing when checking mixes or listening critically.

Flat Mode is a genuinely useful and effective tool, but it’s not a feature I’d leave switched on all the time.

Nothing X app

The Nothing X app gives you plenty of room to customise the sound of your Headphone (1) Pro, and it’s easy to use too. 

There are preset EQ profiles, an Advanced EQ for more precise control over different frequencies, and a Personal Sound Profile option which tailors playback to your hearing profile. The latter was easy to set up, and the difference between the various EQ settings was noticeable enough to make experimenting worthwhile.

The app also includes five spatial audio modes, including Standard, Studio B, Club, Concert Hall and Live House. Each gives the sound a different character, and I mainly switched between Standard and Studio B during my listening.

Together, these customisable options give you plenty of ways to tailor the headphones to your preferences, whether you want a more neutral presentation or a more immersive listening experience. 

Battery life

Battery life is another strong point. Nothing rates the Headphone (1) Pro for up to 30 hours with ANC enabled, rising to 68 hours with noise cancellation switched off.

In my day-to-day use, the battery hasn’t been something I’ve had to worry about. I’ve charged the headphones once in the space of a week, despite having ANC on most of the time. 

This does make the lack of cable storage in the case a little easier to forgive, as I’m unlikely to be caught short by low battery.

Pricing and availability

Nothing continues to bring something distinctive to a market full of familiar-looking alternatives, and the Headphone (1) Pro are another strong example of that approach. Yes, the travel case makes the headphones less convenient to travel with than they should be, but it doesn’t overshadow an otherwise enjoyable experience.

The Nothing Headphone (1) Pro are an impressive pair of over-ear headphones. Their distinctive design, tactile controls, powerful sound and effective noise cancellation make them enjoyable to use, while the extensive EQ options and dedicated Flat Mode give them more flexibility than many premium headphones.

The Nothing Headphone (1) Pro are available now on Amazon for $399.

The Headphone (1) Pro were sent to us by Nothing for review. No money has exchanged hands for our opinions. The Amazon link above is an affiliate link. We may earn a small commission for any sales generated.

The post Nothing Headphone (1) Pro review: a distinctive design with impressive sound and features to match appeared first on RouteNote Blog.

A gold-plated Sony Walkman. Yeah, sure, why not? 

Sony has just announced its premium Walkman range with the NW-WM1ZM3, NW-WM1AM3 and NW-ZX900. The three dedicated music players are aimed at listeners who want high-resolution audio on the go, with a focus on premium materials, revised internal components and longer playback.

The range is led by the NW-WM1ZM3, which features a gold-plated oxygen-free copper chassis. The NW-WM1AM3 offers a different take on the WM1 design, while the NW-ZX900 brings several high-end audio components into a more affordable model. That is, if you still have a couple grand to spare.

Putting premium at the forefront of design

The biggest differences between the three players come from their materials and internal construction.

Sony’s flagship NW-WM1ZM3 has a precision-machined chassis made from 99.99% pure oxygen-free copper (OFC), finished with gold plating. It also features gold-plated screws and thick KIMBER KABLE wiring carried over from Sony’s DMP-Z1 digital music player, with the design intended to help reduce noise and preserve the audio signal.

The NW-WM1AM3 and NW-ZX900 combine aluminium bodies with gold-plated copper rear panels, while the two WM1 Series models feature further upgrades to their internal components to help deliver cleaner, more detailed sound.

Sony has also improved the way the WM1 models manage power and reduce unwanted interference. The NW-ZX900 benefits from its own internal upgrades, including components designed to help keep audio playback stable and minimise noise.

New processing for high-resolution audio

All three Walkmans are designed to deliver detailed, high-quality sound, with support for high-resolution audio formats and powerful headphone output thanks to Sony’s S-Master HX digital amplifier technology. Sony has also refined its sound processing to help preserve detail and respond accurately to changes in the music.

Each player features Sony’s DSD Remastering Engine, which processes digital audio to create a sound Sony describes as closer to analogue. The technology works with both downloaded music and tracks streamed over Wi-Fi, so listeners can benefit from it regardless of how they access their music.

For listeners who use a dedicated player to enjoy their music collection, these features put the emphasis on playback quality and detailed sound reproduction.

Larger displays and longer battery life

The two WM1 Series models have 5.5-inch screens, while the NW-ZX900 has a 5-inch display. All three feature a customisable Walkman Home Screen and larger, clearer album artwork.

Battery life varies by model. Sony quotes up to 35 hours of 128kbps MP3 playback for the NW-WM1ZM3 and NW-WM1AM3, with up to 31 hours when using streaming service apps under its stated test conditions. The NW-ZX900 is rated for up to 40 hours of MP3 playback or up to 35 hours using streaming apps.

Prices and availability

Sony’s US announcement lists the following prices, with pre-orders available now Amazon:

• NW-ZX900 – $1,899.99: The most affordable of the three, with a 5-inch screen, aluminium-alloy chassis and upgraded audio components.

• NW-WM1AM3 – $2,999.99: A higher-end option with a 5.5-inch screen, upgraded power circuitry and a gold-plated OFC rear chassis.

• NW-WM1ZM3 – $5,899: The flagship, featuring a gold-plated OFC chassis and KIMBER KABLE wiring.

With the NW-ZX900 offering the lowest-cost route into the new lineup at $1,899, Sony’s latest Walkmans are clearly designed for the premium portable audio market.

The post Sony unveils three premium Walkman players, including a gold-plated $5,899 flagship appeared first on RouteNote Blog.

Having recently released data showing that holiday listening is already picking up, Spotify has now revealed its 2026 Spotify Singles: Holiday Collection. It’s become something of an annual tradition for Spotify, and this year’s releases see Freya Skye, NIKI and Lykke Li put their own spin on three much-loved festive classics.

What’s new in Spotify’s 2026 Holiday Singles collection?

Spotify’s latest Holiday Collection features three new recordings, each reimagining a well-known Christmas song.

The 2026 lineup includes:

• Freya Skye – “2000 Miles”: The singer takes on the Pretenders’ 1983 festive classic, which has become a seasonal favourite in its own right.
• NIKI – “Merry Christmas, Darling”: The Indonesian singer-songwriter reinterprets the Carpenters’ original with a warmer, tropical feel inspired by growing up in a tropical climate.
• Lykke Li – “Have Yourself a Merry Little Christmas”: The Swedish singer offers her take on the Judy Garland classic, aiming to honour its emotional history and timeless melody.

Speaking to Spotify, each artist explained the personal inspiration behind their recording. Skye highlighted the opportunity to create new festive memories through music, while NIKI wanted to give her chosen song more of a tropical feel. Meanwhile, Lykke Li focused on respecting the original while bringing something new to its timeless melody.

You can listen to all three tracks, alongside previous releases, in Spotify’s Holiday Collection playlist.

Spotify says its Holiday Collection has been a seasonal fixture for nearly a decade. Last year’s additions included Ravyn Lenae’s “O Holy Night”, Jordan Davis’ “O Come, All Ye Faithful”, Fall Out Boy’s “It Feels Like Christmas”, Poppy’s “Last Christmas” and Sofia Camara’s “Christmas Lights”.

What can independent artists learn from Spotify’s holiday releases?

Spotify’s latest announcement arrives as listeners are already turning to festive music. Earlier this month, Spotify revealed that holiday favourites were receiving an average of 36.2 million streams per day.

As we covered at the time, this early activity gives independent artists and labels a reason to consider seasonal releases before December arrives.

Spotify’s Holiday Singles collection provides a great example of how a familiar song can be reinterpreted in different ways. NIKI’s warmer approach to “Merry Christmas, Darling” and Lykke Li’s more traditional tribute show that there’s no single formula for a festive cover.

For independent musicians, the opportunity is to find a song that suits their identity and make it feel distinctive. That might mean reworking a classic into an acoustic ballad, giving a carol an electronic production or putting a genre-specific twist on a familiar pop song.

If you’re planning a festive single or album this year, RouteNote helps you distribute your music to Spotify and other major streaming platforms for free.

Get started with RouteNote and get your next release ready for listeners.

The post Spotify reveals its 2026 Holiday Singles featuring Freya Skye, NIKI and Lykke Li appeared first on RouteNote Blog.