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The Georgia Institute of Technology (Georgia Tech) hosted the Guthman Musical Instrument Competition in Atlanta, 7–8 March 2025. Ten finalists were invited to the Georgia Tech campus to present their work to the judges and perform a public concert. The first place award went to Passepartout Duo and KOMA Elektronik for the chromaplane, an analog instrument that uses two electromagnetic pickup coils among an array of electromagnetic fields. Luckruf Music won the second place award and the people's choice award with the mulatar, a multifaced string instrument with expressively movable bridges.Web: guthman.gatech.edu/2025-competitionPurdue University hosted the Society for Electro-Acoustic Music in the United States (SEAMUS) conference in West Lafayette, Indiana, 21–24 March 2025. It continued the theme of “Spaces, Places, Traces” from the 2024 Web Audio Conference at Purdue, encouraging participants to consider how audio can explore, reflect, or reshape modern environments that transcend traditional senses of place and time in technology-based interactions. Among the 14 concerts, Stephen Marotto performed Morton Subotnik's Axolotl for cello and electronic ghost score, and Hubert Howe presented Inharmonic Fantasy No. 19, exploring 19-tone equal temperament. There were 44 works in listening space, 18 papers, eight installations, and four workshops, including Nick Hwang and Anthony T. Marasco presenting a mobile node controller (MoNoDeC), which uses Internet of Things speakers and an audience's mobile devices for immersive audio. (See their article in this issue.)Web: cla.purdue.edu/academic/rueffschool/music/events/conferences-festivals/seamus-25/seamus-25.htmlThe sixth SPLICE Festival took place at Western Michigan University, 23–25 January 2025, in Kalamazoo, Michigan. Among the five concerts, Drew Whiting performed a baritone saxophone adaptation of Pamela Z's Four Movements for Cello and Delays, and among four lectures, Christopher Cresswell reflected on the 40th anniversary of John Oswald's lecture “Plunderphonics, or Audio Piracy as a Compositional Prerogative,” in light of the culture of sampling and Internet memes that emerged since that time. In two workshops, Per Bloland presented a collection of Max objects for computer-assisted orchestration called MaxOrch and Orchidea, and Dmitri Volkov presented the Pivotuner plug-in for managing tuning systems.Web: splicemusic.org/festival/program