GIVEAWAY: BuzzCut Pro mastering limiter by LusiD Music UK (3 copies)
LusiD Music UK has released BuzzCut Pro, a mastering limiter and dynamics processor for macOS and Windows, and we are giving away three copies to BPB readers. You can enter by answering the question at the bottom of the article. We randomly select three comments and announce the winners here on September 10th. BuzzCut Pro [...]
View post: GIVEAWAY: BuzzCut Pro mastering limiter by LusiD Music UK (3 copies)

Get the Rootical Dub sample pack FREE for a limited time
Reggae-Loops.com is offering its Rootical Dub sample pack as a free download for a limited time. I love dub music, especially the old-school stuff. Rootical Dub aims for a more modern style, but it is still nice to see something like this available for free. And I could help but fire up my favorite Scientist [...]
View post: Get the Rootical Dub sample pack FREE for a limited time

Lewitt introduce Space Replicator Free Space Replicator Free provides users with the core features of its paid-for sibling, and includes calibration profiles for over 800 headphone models.

Logic Pro 12.3, as reviewed by a Cubase version 1 user£199
Also included in Apple Creator Studio subscription from £12.99/month
apple.com
First impressions last.
My first impressions of Cubase were formed way back in 1989 with its inaugural release. I’d been getting to grips with MIDI sequencing courtesy of Steinberg Pro-24, but when Cubase landed I was blown away. It was streets ahead of its predecessor, I was an instant convert, and Cubase has never been far from my desktop since.

READ MORE: Steinberg SpectraLayers Pro 13 is an excellent value spectral editor

It’s never been an exclusive relationship, mind you. I spent a long time as a Pro Tools user, albeit with Cubase standing by for MIDI work. I love the analogue-inspired workflows of UA Luna, while also adoring how Bitwig Studio and Ableton Live ditch the old-school-studio paradigm almost entirely. And I dabble with most DAWs as they come along.
But Logic…? I used it back in its Emagic days by dint of it being the only DAW, other than Pro Tools itself, that supported my Pro Tools TDM hardware. But I didn’t get on with it at all, the many unproductive hours spent fighting with its differences to Cubase (and Pro Tools) coalescing into a distinct antipathy.
Of course, today’s Apple Logic Pro is a far cry from yesterday’s Emagic Logic Platinum, and seems to bear little resemblance to the frustrating beast I battled with way-back-when. Clearly it’s long-past time I give Logic another chance to win me over.
How big is the difference, really?
On first launching Logic Pro and having a nosey-around I’m struck by just how much convergence there’s been between the two elders of the DAW world. The core work area of a timeline based app is always going to be familiar—track heads running vertically, track content running horizontally, etc.—but Logic and Cubase extend this basic template in much the same way, with pop-out side- and bottom-panels for accessing inspectors, browsers, editors, mixers and such. Unlike my previous foray into Logic, then, I immediately feel right at home.
Many differences remain, of course, but most centre on cosmetics, naming conventions, and small workflow variations. For example, Logic displays its transport and main info bar at the top of the screen whereas Cubase displays its at the bottom. Logic can store and recall track setups as Patches where Cubase does the same via Track Presets. Logic’s Drum Machine Designer plugin turns a track into a drum machine; Cubase has a specific Drum Track track type which does the same.
Yet despite feeling at home, and so many differences being minor, there are some aspects I find frustrating, so let’s get them out of the way.
What don’t I like in Logic Pro?
Argh – my eyes! Logic’s legacy plugins are abominations of skeuomorphic design. Image: Press
Most DAWs provide a track type that can encapsulate and contain other tracks. Also, ever since the early days of analogue consoles, routing channels via subgroups has been commonplace and is widely understood. Cubase handles these concepts with Folder and Group tracks, respectively, but Logic combines the two into Stack Tracks. There’s a relationship between the two concepts, sure, but they’re sufficiently distinct to warrant their own track types. This being so, the idea of Stack Tracks is strained and needlessly confusing – for proof, see the word-salad of the manual’s Stack Track sections.
There are other irritants too: Logic insists that projects be assigned a key signature upon creation, but one may not have a key in mind at that point. The output levels of many bundled instrument plugins are far too hot. Aux tracks can’t be created at will, but only by adding a send to a track. There are too many legacy plugins and instruments included that are abominations of skeuomorphic design – at least reskin the things for [deity]’s sake!
And why-oh-why is it beyond the wit of Apple (and Emagic and C-Lab before it) to create an equivalent to Cubase’s sublime Drum Editor? Programming drums via a piano-roll editor has never been an adequate substitute.
Project key signature in Logic Pro 12.3. Image: Press
What does Logic do better than Cubase?
These gripes notwithstanding, I find it easy to adapt to Logic’s way of doing things and even discover, somewhat to my surprise, there’s plenty here that I really like.
The most immediately noticeable plus is Live Loops, which allow non-linear pattern-based sequencing à la Ableton Live and Bitwig Studio. Cubase’s nearest equivalent is the somewhat MPC-like Groove Agent SE instrument, but this lacks Live Loops’ close timeline integration and fluid workflows.
Logic’s Session Players are another big plus, conjuring convincing and interesting bass, drum and keyboard parts based on a project’s chord progressions and rhythms. Cubase does have pattern players that can follow a Chord track, and Groove Agent can generate drum beats and grooves, but these don’t come close to the abilities of Session Players.
I’m also exceptionally impressed by Logic’s built-in stem separation. Cubase’s equivalent is hamstrung by Steinberg’s need to encourage users towards SpectraLayers Pro, and so is useful only when sketching ideas. But Logic’s splitting not only wipes the floor with Cubase’s, it’s up there with—or even surpasses—the best I’ve ever encountered.
Despite my complaints about Stack Tracks and aux tracks, I do like how Logic manages tracks overall. Patches prove more useful than Cubase’s Track Presets, largely because they include aux tracks (and their configuration) alongside the main track’s settings. I also like how the Inspector side-panel shows a secondary channel strip that displays the output bus fader or, when working with sends, the related aux channel strip.
Similarly, when it comes to region handling, the dedicated Region info panel in the Inspector is very handy, and the ability to collapse a set of regions into a single folder region, leaving all the track heads visible and active, is inspired.
Logic Pro 12.3 Session Players. Image: Press
What’s new in Logic 12.3?
While all of Logic Pro is new to me, mention has to be given to the changes wrought in its latest update… this won’t take long.
Beat Breaker—Logic’s take on the classic ReCycle method of chopping up and rearranging loops—can now apply per-slice filtering, resonance and panning, all of which can be randomised. Similarly, Logic’s loop detection has been improved, and its Flex system, which allows audio to be interactively retimed and re-pitched (much like Cubase’s Elastic Audio), now works with Smart Tempo.
The analysis performed by Chord ID, which detects chords in audio recordings, has been sped-up and made more accurate, and it’s easier to detect and use chords analysed from specific ranges within a longer audio recording.
Finally, Alchemy and Sample Alchemy instruments have gained a new Sync mode that allows the formants of extracted grains to be adjusted, and parallel grain streams to be combined. A new Granular Alchemy sound pack makes much use of this newfound ability.
Will I be sticking with Logic?
I’d normally criticise an update for offering such meagre pickings but, given all Logic updates are free to existing users and Apple Creator Studio subscribers, it’s not so unreasonable. Indeed, price is where Logic is unequivocally better than Cubase, costing less than half the price of the full-featured Cubase Pro. But this of course assumes you already have a Mac.
Some of that value can be attributed to Logic’s smaller collection of bundled content, and that that content (IMO) tends to have a poorer ‘good-to-meh ratio than Cubase’s. Nevertheless, £199 is ridiculously good value for a top-tier DAW loaded with pro-grade effects and instruments plus over 50GB of content.
Given my previous unhappy experience with Logic I’m surprised by how much I like it! I don’t think it’s better than Cubase (whatever better means), but nor do I think it worse. It’s just a bit different, yet not sufficiently so to leave one flabbergasted. Doubtless Cubase will remain my go-to DAW, but I’ll definitely be reaching for Logic frequently too. In fact, I’m already looking forward to my next session with it.
Key Features

Advanced digital audio workstation for macOS and iPadOS
Full suite of plugin instruments and effects
Over 50GB of included content including samples, loops and patches

The post Logic Pro 12.3, as reviewed by a Cubase version 1 user appeared first on MusicTech.

Crypto-backed PAC scales back ad spending in Massachusetts primaryThe $189,000 in media spending to support Representative Jake Auchincloss marked Fairshake’s latest attempt to influence the 2026 elections with funds from the crypto industry.

Open AI’s Astra model is on the way—and very good at breaking into computer systemsOpenAI previewed the precautions it is taking as it prepares to release Astra, its newest, cyber-critical LLM.

Geranium Production INS Browser for LiveINS Browser for Live is a standalone application designed to make hardware synthesizer presets easier to browse, search, audition and use with Ableton Live. It reads Cakewalk Instrument Definition (.ins) files and turns their Bank, Sub-Bank and Program information into a named, searchable preset library. Instead of navigating hardware banks by numbers or repeatedly consulting a synthesizer manual, users can search for presets by name, select them and audition them directly on the connected MIDI instrument. INS Browser for Live can also audition presets using configurable MIDI riffs, with tempo and transpose controls, and includes favorites and preset renaming. For Ableton Live users, the application provides the corresponding Bank, Sub-Bank and Program values required to recall hardware presets from Live. Instrument Definition files are plain text files and can be edited or created by users. INS Browser for Live includes a growing collection of Instrument Definitions for classic and modern hardware instruments, as well as an AI prompt designed to help users create definitions from synthesizer documentation. Main features: • Includes 200+ ready-to-use Instrument Definitions (.ins) for hardware synthesizers and MIDI instruments • Named and searchable hardware preset libraries • Instant search across thousands of presets • Direct MIDI preset auditioning • Configurable MIDI riffs for automatic auditioning • Tempo and transpose controls • Favorites and preset renaming • Bank / Sub-Bank / Program values for Ableton Live • MIDI controller information when documented in the Instrument Definition • User-editable, open text-based .ins format • No Max for Live required. Read More

Sony Music Needs a VP, D2C Fan EngagementThe VP is accountable for the quality and commercial performance of D2C fan engagement across the roster, and for the relationships that make it work: with label marketing, creative and commerce teams, with the international marketing team, and with partners across The Greenhouse. Much of the work is proposing rather than deciding - the label approves throughout - which makes credibility, judgement and influence without authority central to the role.

The role leads a team of five to six spanning creative direction and design systems, design and production, D2C product management, and CRM and lifecycle marketing. The ideal candidate combines strong D2C product instincts, fan marketing expertise, creative sensibility and operational rigour, with a deep understanding of how fans engage with artists, music, merchandise and culture across global markets.

Apply via ZipRecruiter.The post Sony Music Needs a VP, D2C Fan Engagement first appeared on Music Connection Magazine.

How Gold Plastic Syndrome is Killing Toys and Game ConsolesIn a recent video [Sqwerks] does a deep-dive into the problem of disintegrating plastic enclosures of Nintendo DS consoles. These original NDS handheld consoles have a metallic-like coating that appears to interact with the ABS plastic, causing yellowing as well as extreme brittleness and correspondingly broken hinges. Unsurprisingly, this causes the shell to essentially disintegrate the moment you try to disassemble them for something like a screen replacement.
While somewhat the opposite of plasticizer migration into ABS from PVC insulation that we covered before, the underlying cause is probably similar, with the Transformers toy community having come to call it Gold Plastic Syndrome (GPS) based on the fact that it were mostly gold-colored parts on these plastic toys that seemed to be affected. Over time the additives used to add a cool metal sheen and swirls to the plastic appear to interact in a way that makes the ABS plastic very brittle.
Although the underlying cause of GPS doesn’t appear to be known yet, the Transformers community has documented this happening since the late 1980s and into the early 2000s, with even reports that some toys from the mid-2010s suffer from this. Whatever the underlying cause of GPS is, the result is always the same, with disintegrating brittle plastic and often a powdery residue.
In the case of NDS consoles, replacing the affected shell with a third-party replacement is still a viable option today, with [Sqwerks] recommending this solution. For other enclosures and toys where the plastic effectively is the toy, it might be that all we can do is watch them slowly disintegrate until we figure out how to revert GPS.

Premium subscription streaming generated $3.1B for rightsholders in the US in H1 2026, up 7.8% YoYIndustry wholesale revenues hit $5.97 billion, up 6.9% YoY
Source

Golden DSP launches Silkbrush Reverb for $39
Golden DSP has released Silkbrush Reverb, a ducking reverb plugin for macOS and Windows, priced at $39 during launch. Silkbrush is designed for vocals and other lead sounds that need ambiance without being pushed back by the reverb tail. It combines a modulated hall-style reverb with built-in ducking, so you do not need a separate [...]
View post: Golden DSP launches Silkbrush Reverb for $39

Trinnov Nova goes immersive The latest update for the Nova introduces immersive audio support along with a number of other improvements and bug fixes. 

Rob Clouth’s Noise Canvas is a FREE spectral sound design tool
Rob Clouth calls its spectral sound design tool Noise Canvas “kind of like Photoshop, but for sound,” which already paints a picture of something more freeform and visually intuitive than typical sound design. Some of you may already be familiar with Noise Canvas, since Rob has been working on the free and open-source project for [...]
View post: Rob Clouth’s Noise Canvas is a FREE spectral sound design tool

Job openings in music tech this month: Major label studios, Star Wars, AV repairs, and moreEA wants someone to design sounds for the new Star Wars: Jedi game, but that’s not the only cool job in music tech this month. There is also a chance to really make a difference by working with people on the autism spectrum. Or even work with the next K-pop superstar at HYBE.
Avex Music Group – Studio Manager
Avex Music Group and its clients have touched on releases with Bruno Mars, Drake, Rihanna, and many more of the biggest stars on the planet. Needless to say, these artists and their collaborators have very high standards for the studios where they work. The Studio Manager is in charge of maintaining that standard. That includes assisting engineers and producers with recording sessions, but also managing calendars, maintaining appearances, and keeping track of all the equipment.

Salary: Unknown
Location: West Hollywood, CA, USA
Required qualifications: 2+ years of relevant experience managing or supporting operations within a professional recording studio, creative facility, or similar hospitality environment.
Best for: Experienced studio techs

Sony Music – Studio Manager, West Coast – US Latin
If the above job is in your wheelhouse, but a bit below your experience, this is a similar role at the highest level. Bad Bunny is leading a Latin music revolution, and so major labels are grabbing some of the best talent. As one can imagine, the biggest music companies are working at the best studios. Everything needs to run like clockwork.
Except, unlike smaller studios, this role requires hiring and purchasing. So, being an expert in equipment and engineering is also very important to know if potential candidates are up to snuff and if the studio actually needs that new mixing console.

Salary: $83,000
Location: Los Angeles, CA
Required qualifications: Experience in studio operations, production facilities, hospitality, or comparable high-touch environments.
Best for: Experienced studio professionals

NightBird Studios Fall Internship
Another LA studio is looking for interns, and it’s still a good idea for those looking to get in the door. Camila Cabello, Chance the Rapper, U2, Florence Welch, and dozens of others have worked out of this legendary spot on the Sunset Strip in Hollywood. As expected, the duties are very much supportive. Going on runs, maintaining clean facilities, and resetting studios, but the people working there will be helping to create music that could live on for generations. A great opportunity to learn what it’s like to be in a top-tier recording facility.

Salary: College credit
Location: West Hollywood, CA
Required qualifications: Enrolled in a school program to receive academic credit
Best for: Aspiring studio pros, young producers

Crooked – Audio Engineer
Crooked produces over 40 different kinds of podcasts in its mission against authoritarianism, which means there is a lot of work for audio engineers. This position handles the audio process end to end. Testing equipment, recording the podcasts, mixing, editing, and sound design.

Salary: $90,000
Location: Los Angeles, CA
Required qualifications: 3+ years of experience with sound editing and recording equipment
Best for: Experienced recording engineers, vocal experts

EA – Sound Designer (Star Wars Jedi)
The next Star Wars Jedi game is on its way to consoles and digital stores. Even though the sound of lightsabers igniting was designed half a century ago, there are still plenty of starships that no one has ever heard before. How cool would it be to make your mark on the Star Wars universe? Two key things to note about this position. It’s a 12-month term. Once the sounds for the game are ready, services will no longer be required. Also, the position requires expertise in Reaper.

Salary: $104,400 – $157,400
Location: Chatsworth, CA, USA. Vancouver, BC, Can. Madison, WI, USA.
Required qualifications: 2+ years of professional game audio experience, preferably on AAA titles. Experience contributing to at least one shipped title is preferred.
Best for: Sound design nerds

Extron – Repair Technician
Extron supplies all sorts of AV tech, including speakers, amps, streaming equipment, and much more. Working with all of these different types of circuits, cables, and wire configurations will surely inform working on synths, experimenting with different modular patches, and it could even lead to some unique sample sources.

Salary: $28.00 to $30.00 per hour
Location: Anaheim, CA
Required qualifications: AA or AS Degree, or equivalent hands-on progressive and relevant experience.
Best for: Technologists

HYBE America – Studio Engineer
HYBE has been instrumental in bringing K-pop to the global audience, and now the entertainment giant is hiring all around the world, too. This position will be working out of HYBE’s studio, recording, editing, and mixing music for its artists, and also assisting with sound operations during their shows. A key element is understanding Korean. So, if picking up Duolingo has been on the list for a while, this may be a sign.

Salary: $73,000 to $95,000
Location: Santa Monica, CA
Required qualifications: Minimum of 2 years of professional experience in an entertainment recording studio or commercial recording studio environment
Best for: K-pop heads, experienced studio producers

Jazz Hands For Autism – Administrative & Studio Assistant
This is a promising position for someone who wants to get started working in studios, and this role will make a real difference. Instead of just ensuring a recording studio functions smoothly, you’re helping people with autism experience the magic of creating music. This requires more fine-tuned communication skills than a standard role, but there will be an educational element as well, providing information to participants on how a real studio works.

Salary: Unknown
Location: Culver City, CA
Required qualifications: Excellent written and oral communication, organisational, and interpersonal skills. Ability to communicate effectively and professionally in writing and in person.
Best for: Studio heads, compassionate people

 
The post Job openings in music tech this month: Major label studios, Star Wars, AV repairs, and more appeared first on MusicTech.

Roland launch FP-40 piano & Piano Sphere app Roland have just launched a new digital piano that integrates with a mobile app in an effort to encourage returning players and hobbyists to get more enjoyment from learning and playing the piano.