Guitar Center Business Solutions Announces ResonateThis week, Guitar Center Business Solutions announced the inaugural Resonate, "the company’s first dedicated industry expo, launching in Nashville to showcase the future of integrated audio, video and control technology, according to a company statement.

"The free, one-day event will take place Thursday, April 9, from 10 a.m. to 6 p.m. CDT at the Music City Center in Nashville," they added. "The expo will bring together leading brands, integrators and decision-makers across music, education, venues and enterprise. Nashville was selected as the host city for Resonate because it reflects the convergence shaping today’s market and serves as the headquarters of Guitar Center Business Solutions."

“We created Resonate as systems are converging faster than organizations can adapt, and the industry needs clearer leadership around how everything connects,” said Curtis Heath, president of Guitar Center Business Solutions, in a statement. “Our experience across education, performance and enterprise environments positions us to help the market move forward with solutions that are practical, scalable and built to last.”

“Nashville is the perfect place to close the gap between creators and the systems that amplify their work,” Heath told MC. “Resonate brings together music, pro audio, and pro AV—along with the networked, enterprise-grade technology behind it—to show what’s possible when you design the entire experience end-to-end. No other organization connects these worlds at this scale.”

Resonate Event Details:- Resonate, presented by Guitar Center Business Solutions- Thursday, April 9 | 10 a.m. to 6 p.m. CDT- Music City Center | Nashville, TN- Registration is free for early registrants; space is limited.

For more information and to register, visit resonate-expo.com.

The post Guitar Center Business Solutions Announces Resonate first appeared on Music Connection Magazine.

60,000 AI tracks hit Deezer daily as platform moves to license detection tech to wider music industryDeezer also revealed that up to 85% of all streams on AI-generated music were fraudulent in 2025
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Future-proofing your DAW project: A guide to exporting multitracks, stems, and moreLosing a DAW project to software upgrades or crashed hard drives is a rite of passage in music production. You back up your work, confident you’ve properly archived your musical history; several months or years later, you bitterly realise that your computer won’t even open the session, let alone play it back.

READ MORE: Learn how to layer monosynths to give your music more impact

This kind of disaster scenario can happen at any time. Plugins change, software companies go bankrupt, and product support disappears—but your music doesn’t have to. Here’s how you can future-proof a project before it leaves your DAW.
Organising with intent
Future-proofing your projects will prevent any technical mishaps but will also keep your music adaptable to different media forms.
Imagine missing out on a TV or film placement because you can’t provide the stems from a previous song, or needing a spatial mix years after release, when the original project is no longer accessible.
Multitracks are essential for building flexible live sets. Logistics force you to scale your setup down for your next show, and suddenly, you long to have control over every layer of sound in the backing tracks. The same applies to remixing. An a cappella master offers far less creative freedom than dry vocal tracks.
That said, for producers working at speed, creating a detailed delivery folder for every sketch isn’t the most productive strategy. Focusing on music that’s already released or release-ready is more sensible.
A typical archival folder might include:

Masters (with alternative versions)
Stems (submixes of grouped instruments)
Multitracks (each channel exported individually)
MIDI files (to preserve tempo and key information)
Metadata files (lyrics, credits, keywords)

Each of these files supports different use cases.
Image: SIRMA
Exporting masters and stems
For many artists, the full master feels like the finish line. But it’s just as important to get the a cappella and instrumental versions from your mastering engineer. If you perform live with backing tracks, it’s also worth having a master without lead vocals. Radio edits and TV masters are useful too, especially for longer pieces or tracks with explicit lyrics.
In digital media, 24-bit / 48kHz WAV is widely considered the industry standard. Some distributors, such as CD Baby, require 16-bit / 44.1kHz files. Physical formats like vinyl, cassette, and CD each have their own technical requirements.
So what’s a producer to do to cover all their bases? Well, if your DAW runs a project at 24-bit / 48kHz, exporting at 32-bit / 96kHz won’t improve the audio’s sonic quality. Print at the highest resolution native to your session instead. You can always create conversions for specific formats later.
As for stems, bypass the limiter, but include group processing. When played together in an empty session, they should closely resemble the final mix, with only minor dynamic differences.
How granular you want to get with your stems is up to you. For example, it’s common to create one stem for the lead vocal, another for harmonies, and a separate one for ad-libs. Some producers stem out all the drums together. Others combine the kick and snare in one stem, and bundle the cymbals in another.
Once you make your decision, solo the channels you want to export together to create each stem and bounce your session as normal.
Image: SIRMA
Exporting multitracks
It’s common to compress all the channels of a drum kit together. But what if you want to process them differently in the future?
This is where multitracks matter most: they offer control over every individual sound.
Most DAWs can export all channels at once. But the results are often far from perfect. You may end up with glitches and missing audio files. Soloing and printing each channel individually takes longer, but it’s far more reliable.
A common workflow is to secure dry sources, such as vocals, individually first. After that, you can solo the return channels to capture the reverb or delay output. Manage the sends carefully to craft a modular multitrack session that’s easy to reconstruct later.
When imported into a blank project, all multitracks should recreate the mix exactly, minus any group or master bus processing.
Image: SIRMA
Alternative audio assets, MIDI, and metadata
Once your masters, stems, and multitracks are finalised, consider archiving anything else you may need later.
It’s best to preserve all your original panning decisions in multitracks. But you can always create a supplementary folder containing centred harmony vocals, dry drum elements, or even raw, untuned vocal comps.
Likewise, exporting MIDI files for each software instrument can simplify future tasks such as score preparation. At minimum, a single consolidated MIDI file preserves tempo, key, and harmonic structure.
Image: SIRMA
Next, prepare a PDF of a metadata sheet that includes:

Musician credits (with PRO information included for each composer)
ISRC and UPC codes
Label and/or music libraries representing the song
Lyrics
Tempo, time signature, and key
Genres

You can embed some metadata directly into WAV files using software such as Audacity. But a standalone document is still the most accessible solution.
Final checks
Simple organisational tactics can make your archives more functional.
Label every item distinctly and include the track title in all file names to save yourself the headache later.
To maintain alignment, export all files with one or two bars of silence at the beginning and end.
Once complete, import everything into a blank session and listen through: first the stems, then the multitracks. This way, if anything is misaligned or missing, you’ll be able to spot it quickly.
Future-proof one project at a time. Once the process becomes familiar, you’ll develop a repeatable system that protects your music for years to come.
Check out more music production tutorials.
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Native Instruments CEO updates users: “Business continues as usual at Native Instruments, iZotope, Plugin Alliance and Brainworx”Following the news of Native Instruments going into preliminary insolvency proceedings, the brand’s CEO, Nick Williams, has issued an update via NI’s blog page. He assures the community of creators, customers and partners that it’s “business as usual at Native Instruments, iZotope, Plugin Alliance and Brainworx.”
Since the news spread, the internet has been rife with predictions on which company will acquire NI — InMusic, Splice, and Fender are among the many brand names that have been suggested as potential buyers. Meanwhile, many posts criticising and mourning NI are circulating, with one YouTuber even citing the news as “the upcoming collapse of the music industry”.
Williams suggests that such speculation is premature, saying that the company is “working diligently and responsibly to secure a healthy, financially sustainable future for Native Instruments.” He adds that the Native Instruments brands are also “continuing to develop and launch new products and features. Our NKS Partnerships team continues to process Kontakt Player licences and NKS Partner submissionss.”
Read the full statement below.
“I want to personally take a moment to address the recent news about Native Instruments.
“Please rest assured that business continues as usual at Native Instruments, iZotope, Plugin Alliance and Brainworx. Our hardware and software products remain on sale and available for download and activation. Our passionate and dedicated teams are here and supporting customers as normal. In product and engineering, we are continuing to develop and launch new products and features. Our NKS Partnerships team continues to process Kontakt Player licences and NKS Partner submissions.
“We are working diligently and responsibly to secure a healthy, financially sustainable future for Native Instruments. As you may have seen, Native Instruments GmbH has entered a restructuring process in Germany, as have 3 of our German non-operating holding companies. In legal terms, we have filed applications to open pre-insolvency proceedings for those companies.
“We are focused on providing continuity for creators, customers, and partners. We’ll continue to share updates as we have them.
“I’m a lifelong musician myself, and have been a passionate fan of Native Instruments for 25 years. Our mission to inspire and enable creators to express themselves through sound continues.”
Keep up with more music production industry news. 
The post Native Instruments CEO updates users: “Business continues as usual at Native Instruments, iZotope, Plugin Alliance and Brainworx” appeared first on MusicTech.

Novation’s Launch Control XL 3 gets its first firmware update – with enhanced DAW support, upgraded MIDI routing and moreAfter launching the Launch Control XL 3 last year – a control surface we gave a strong 8/10 in our review – Novation has released the unit’s first firmware update, bringing upgraded DAW compatibility, enhanced control for external hardware and more.
Available via Novation’s product hub, Components, the Launch Control XL 3’s V1.1 firmware update adds enhanced DAW support – with Pro Tools and Reaper now compatible. Novation says Studio One is also compatible, but that recently became Fender Studio Pro, so we’re assuming FSP is also compatible.

READ MORE: Spotify, Sony, Warner and UMG sue shadow library over the scraping of 86 million tracks

The firmware update also brings expanded MIDI routing, with flexible USB-to-DIN MIDI passthrough, making it easier for producers to configure hybrid setups with merged control data and channel filtering.
Credit: Novation
Additionally, the unit’s encoder response can now be adjusted for “more precise expressive control”, while faders can now be set to “pick up” their previous position instead of immediately jumping to a new value when moved. This, Novation says, enables smoother transitions when mixing or performing.
Launch Control XL 3 also now features fader preview – which basically means you can now press Shift and move any fader to display its parameter value on the unit’s OLED screen.
Users can also enjoy faster Custom Mode selection by holding down the Mode button, selecting a mode and then releasing it.
Launch Control XL 3 V1.1 is available now. Users can update their hardware now via Novation.
Credit: Novation
The post Novation’s Launch Control XL 3 gets its first firmware update – with enhanced DAW support, upgraded MIDI routing and more appeared first on MusicTech.

A statement from Native Instruments Native Instruments' CEO, Nick Williams, has just released an official statement regarding the company's pre-insolvency filing.

New Music Venue Trust-backed “ethical” ticket platform prohibits ticket resales above face valueTickets9 – a new “ethical” ticket resale platform backed by the Music Venue Trust – has been launched in a bid to combat increasingly high ticket prices, with a prohibition on sales above face value.
Ticket pricing for events has been a hot topic over the last few years, with Oasis’s reunion shining a light on the issue after many fans expressed disappointment at having to pay inflated prices due to Ticketmaster’s dynamic pricing model.

READ MORE: The £1 ticket levy scheme has already raised £500,000 for grassroots venues

The UK government initially planned a 30% profit cap on resale prices, but plans have since changed to a total ban on any profit whatsoever.
Before that law is enforced, though, Tickets9 will ensure UK concertgoers aren’t exploited while purchasing resale tickets. The “transparent and ethical” platform will require sellers to upload proof of ticket purchase and tickets can only be listed at face value, plus an additional 12% booking fee and £1 donation to the Music Venue Trust on events above a 5,000-person capacity.
 
Not only could cutting down on touted tickets save UK music fans millions per year, but Tickets9’s £1 ticket levy will no doubt do wonders for the Music Venue Trust. “Grassroots music venues continue to face enormous financial pressure, and creating reliable, long-term income for the sector is essential,” the Music Venue Trust’s Partnerships Manager Denzil Thomas tells NME.
“Tickets9 have built direct support for our network into their platform from day one, ensuring that every qualifying resale contributes to keeping vital grassroots spaces open,” he continues. “This partnership gives fans an ethical option that makes a real difference to the places where new artists learn their craft.”
Plenty of artists have also supported the Music Venue Trust by implementing their own £1 ticket levy towards the charity. Over £500,000 was raised as of May 2025, with contributions from the likes of Diana Ross, Enter Shikari, Coldplay, and more. And that figure has continued to hike up, with Sam Fender in particular bumping up that figure by raising over £100,000 on his September arena tour.
You can donate to the Music Venue Trust, and head to Tickets9 now to see what tickets it currently has on offer.
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“We’ve strengthened our software and firmware testing processes”: AlphaTheta responds to CDJ firmware issue – which found DJs missing tracks and playlists on their USB drivesIn October, a firmware issue with CDJ-3000s saw many DJs unable to perform at their gigs. In short, when DJs loaded their USBs into the players that were updated to version 3.30, many found their music missing. Since then, AlphaTheta has rolled back the faulty firmware version, released two statements on the issue, and curated a new USB export guide to prevent similar issues from occurring again.
MusicTech explored the technical and cultural implications of the faulty firmware in a recent feature, and now, we’ve spoken with AlphaTheta about the firmware, and how it is adjusting its operations to ensure such disruption doesn’t take place in the future.
How did the firmware issue happen, and what was the effect of the bug?
“We noticed that when users were working with USB drives with libraries exported from older versions of rekordbox, the information for Device Library and OneLibrary wasn’t fully aligned.
“As a result, when CDJ-3000 firmware version 3.30 was used, some tracks and playlists may not have appeared as expected. It’s important to emphasise that no music data was deleted at any point.
“Given how critical reliability is for DJs and venues, and the fact that the CDJ-3000 is trusted in professional settings worldwide, we chose to temporarily withdraw the firmware. This decision was made to minimise disruption, avoid further confusion, and ensure users could continue working with confidence.”

Have you taken any internal steps to prevent a similar issue with future products/software rollouts?
“Protecting the user experience is a top priority for us. So, we’ve strengthened our internal validation and testing processes across software, firmware, and user migration scenarios. For products that support the legacy Device Library format and the newer OneLibrary format, we’re applying more extensive and cautious testing to ensure smooth transitions. In parallel, we’re improving how we communicate changes to users, so they receive clearer, more practical guidance during periods of library format updates.”
AlphtaTheta recently posted a series of videos exploring the more nitty-gritty functions of CDJ-3000Xs. Was this a response to the firmware issue vis-à-vis keeping your community more informed?
“Those videos weren’t made as a direct response to the firmware situation. However, as products become more advanced, we recognise the importance of helping users fully understand how they work. This video series is part of a broader commitment to education and transparency, ensuring DJs feel informed, supported, and confident when using our products.”
What do you recommend DJs, sound technicians, and hardware owners do to prevent a similar situation on their end?
“We recommend keeping rekordbox up to date and reviewing the release notes before installing firmware updates. Backing up USB drives and library data before updating is also strongly advised.
“For those managing multiple devices or large/long-term libraries, following the official USB export guidelines can help ensure more stable, predictable, and consistent performance across setups.”
The post “We’ve strengthened our software and firmware testing processes”: AlphaTheta responds to CDJ firmware issue – which found DJs missing tracks and playlists on their USB drives appeared first on MusicTech.

Trump energy department loosens rules on nuclear safetyThe new rules apply to nuclear reactors built on Department of Energy property, which includes several currently being developed by startups.

Using 3D Printing and Copper Tape to Make PCBsIn a recent video [QWZ Labs] demonstrates an interesting technique to use 3D printing to make creating custom PCBs rather straightforward even if all you have is a 3D printer and a roll of copper tape.
The PCB itself is designed as usual in KiCad or equivalent EDA program, after which it is exported as a 3D model. This model is then loaded into a CAD program – here Autodesk Fusion – which is used to extrude the traces by 0.6 mm before passing the resulting model to the 3D printer’s slicer.
By extruding the traces, you can subsequently put copper tape onto the printed PCB and use a cutting tool of your choice to trace these raised lines. After removing the rest of the copper foil, you are left with copper traces that you can poke holes in for the components and subsequently solder onto.

As far as compromises go, these are obviously single-sided boards, but you could probably extend this technique to make double-sided ones if you’re feeling adventurous. In the EDA you want to use fairly thick, 2 mm trace width with plenty of clearance to make your copper cutting easy, while in the slicer you have to check that the traces get printed properly. Using the Arachne wall generator option for example helps to fill in unpleasant voids, and the through-holes ought to be about 1 mm at least lest the slicer decides that you really want to drill them out later by hand instead.
While soldering is pretty easy on copper tape like this, desoldering would be more challenging, especially with hot air. In the video PLA was used for the PCB, which of course is rather flexible and both softens and melts easily when exposed to heat, neither of which make it look very good compared to FR4 or even FR1 PCB materials. Of course, you are free to experiment with whatever FDM, SLA or even SLS materials you fancy that would work better for the board in question.
Although obviously not a one-size-fits-all solution for custom PCBs, it definitely looks a lot easier than suffering through the much-maligned prototype perfboards that do not fit half the components and make routing traces hell. Now all we need is the ability to use e.g. targeted vapor-deposition of copper to make fully 3D printed PCBs and this method becomes even easier.

OpenWav fan app launched by Wyclef Jean and 88rising’s Jaeson Ma forms joint venture with Loud House for new artist commerce platformThe new project seeks to provide artists and IP owners a way to launch, test and scale consumer products globally without holding inventory.
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Julian Bunetta (One Direction, Teddy Swims) gives an exclusive studio tour
Veteran hitmaker Julian Bunetta (One Direction, Teddy Swims) invited us to his Nashville home to give the Splice community an exclusive studio tour.

Song Biz, February 2026: What's Going On This MonthSMP Signs Spiro

Sienna Spiro signs to global publishing with SMP. With 6.6+ M Spotify listeners/1.5 M TikTok followers, EP SINK NOW, SWIM LATER hit 122+ M streams, “MAYBE,” hit 600+ M TikTok views alone. U.K./E.U. headline tour sold out; supported Sam Smith in NYC/Teddy Swims’ U.S. tour.

Marc Anthony/GoDigital

Marc Anthony’s publishing sells with Latin collection ($115 million including Los Socios del Ritmo, Marisela, 3BallMTY, Tierra Cali, LDNE), adding 30,000+ assets to GoDigitial Music. Including “Vivir Mi Vida,” “Rain Over Me,” “Ahora Quien,” Anthony’s catalog is rumored to have sold for eight figures.

Wesli Releases Makaya

Haitian-Canadian singer-guitarist Wesli releases a tribute to the musical traditions, strength and beauty of the Haitian people in his latest 24-track release, Makaya (“leaf” in Kikongo). Rhythms of solidarity and resilience blend tradition and modernity, celebrating hope for the future of Haiti.

Listening Room Retreats

With over 2000 songwriter participants from over 30 countries since it launched in 2002 (from total beginners to seasoned professionals), attendees have gone on to record, co-write, tour outside their home countries, and release commercially, from relationships that began at the retreat. The week of inspiration and enthusiasm remains unmatched in the industry.

Upcoming retreats include Ireland, Greenland, California, and Denmark, with early registration discounts, paid referral programs, and interest-free monthly payment plans making it easier than ever to attend. Details and registration at listeningroomretreats.com.

SXSW Austin Returns

South By Southwest (SXSW) returns to Austin, Texas, March 12–18. What is it? SXSW 2026 includes 850+ conference sessions, 600+ mentor and networking events, 4,400 musicians performing over 300 live showcases, 460 film and TV screenings, four nights of comedy, and 450 brand activations over seven days. Leaning into its 40th anniversary, this year’s event follows a walkable downtown footprint with designated clubhouses instead of using the convention center. “Connect. Discover. Create What’s Next.” Details and registration at sxsw.com.

SongsAlive! Songwriter Events

With workshops, showcases, camps, webinars, and song critique opportunities, the SongsAlive! community has the power to transform lives. Connecting songwriters, composers, and lyricists from various backgrounds, members get inspired by and connected to like-minded songwriters from around the world. Develop your songwriting skills through virtual and live events inside a supportive creative community. Details and membership at songsalive.org.

Kassner Signs Sutherland 

Glaswegian topliner Katie Sutherland signs global publishing with Kassner Music. Syncs include Vodafone, Orange, Google, Victoria’s Secret; Credit: 100 (The Hunna’s), Sigala, Sub Focus, Dan Smith, DYLAN, Becky Hill, MEEK, A. Van Buuren, Poppy Bascombe, Gabry Ponte, Roger Sanchez.

SESAC Latina Conexiones

SESAC Latina launches “Creando Conexiones,” a matchmaker portal for songwriters to foster songwriter collaboration with virtual or in-person creative opportunities. Leveraging existing relationships and resources, SESAC Latina aims to strengthen the songwriting community through an organic ecosystem (including hitmakers and rising creatives) to connect, experiment, and grow with intentional spaces for collaboration to foster ideas and nurture partnerships. With distinct phases, it began with Regional Mexican, then Pop/Latin Rhythm, then a full combination, and integrates songwriting camps, showcases, events, and special projects. More at sesac.com/sesac-latina-lanza-creando-conexiones.

BMI Awards Neda

2025’s Charlie Feldman Award goes to Miami-born Carlos Neda. Raised in El Salvador, Neda wrote poetry to process his uncertain surroundings, before returning to Miami as a teen and finding his voice through music. Busking around the world in over 90 cities, he survived by singing and playing his guitar. Hitting No. 4 on Spotify’s Viral Mexico chart, “Sin complejos de Disney” launched his career. Debut EP, PARA CAÍDAS, out soon.

Established in 2021 to honor and celebrate retired BMI Vice President, Creative, Charlie Feldman, whose tireless advocacy supported artists for 31 years (including the Neville Brothers, James Brown, the Holland Brothers, Carole King, Chip Taylor, Greg Allman, Rihanna, and Nile Rogers), the annual Charlie Feldman Award grants $2,000 to an emerging BMI songwriter in any genre. More at bmifoundation.org.

Lyric Capital’s Weeknd

Closing a publishing and master recording rights deal with New York’s Lyric Capital Group, ASCAP artist The Weeknd (Abel Makkonen Tesfaye) and his team remain shareholders with ‘creative control’ in a joint venture deal rumored to be worth $1 billion. With over 120 million monthly Spotify listeners, and creating Spotify’s most-streamed track with “Blinding Lights” (bumping Ed Sheeran’s “Shape of You”), The Weeknd’s agreement includes work through 2025 (future releases excluded). Chord Music Partners (XO/Republic/Universal Music Group (UMG))’s 50 percent publishing partnership remains. Universal Music Publishing Group continues administration.

DSE Ventura Returns

The Durango Songwriting Expo returns to Ventura, California February 19-21. For 30 years, Durango has been the industry’s best-kept secret: a twice-yearly event for songwriters to access publishers, A&R executives, and music supervisors who can change their career. What makes DSE different? Personalized connections, honest feedback, curated showcases, and career-empowering knowledge. With open mics, industry panels, song listening sessions, workshops and networking events, it is the perfect opportunity to accelerate your songwriting career. Details and registration at durangosong.com.

Eclipse Scoops Shackleton

ASCAP’s Emily Shackleton has sold her catalog to Eclipse Music Group, in a deal that includes songs recorded by Carly Pearce, Reba McEntire, Runaway June, David Nail, Sara Evans, and Mickey Guyton. Best known for multi-platinum / CMA-winning “Every Little Thing” (Carly Pearce), Shackleton’s writing joins Eclipse’s portfolio of songs that includes “Tennessee Whiskey,” “Chasin’ You,” “Getting’ You Home,” “May We All,” and others. 

Since 2017, Eclipse has been committed to empowering artists, songwriters, and helping them make the most of their catalogs, bringing decades of experience to support publishing, acquisitions, masters, and strategic partnerships. The Eclipse ecosystem is designed for creative and commercial success as it signs rising hitmakers, nurtures business collaborations, and adds catalogs to their roster.

KISS on the Hill

2025 Kennedy Center Honoree and legendary bassist, co-founder and co-lead singer of KISS, Gene Simmons joined SoundExchange President/CEO Michael Huppe in testifying before the U.S. Senate Judiciary Committee in support of the bipartisan American Music Fairness Act bill (AMFA) (S.326/H.R.861). Big radio corporations—who made $13.6 billion in ad revenue in 2024—are being taken to task to start paying artists performance royalties for their music. Marking the first time in over ten years the Senate has held a hearing on AMFA, Simmons’ support joins over 300 artists who sent a letter to congress encouraging leaders to pass the bill. 

The National Independent Talent Organization (NITO) has also encouraged Senate support for the Bill, with over 60 NITO members companies writing in to lend support. A rival measure presented by the National Association of Broadcasters (NAB), the Local Radio Freedom Act (endorsed by over 200 members of the U.S. House of Representatives) opposes any type of new charge on local radio (perhaps stemming from historic pay-to-plug radio protocols in the early days of music). NITO emphasizes that AMFA protects independent stations with minimal ($1.37/day) cost, and indirectly benefits independent managers, agents, and more. More at recordingacademy.com/advocacy/news/american-music-fairness-act-gene-simmons-senate-hearing.

Yellow Days’ Album

Out this month, Yellow Days’ new album Rock And A Hard Place follows debut EP Harmless Melodies. George van den Broek’s latest project draws Otis Redding, Bootsy Collins, James Brown, George Clinton vibes with fresh soul atop a backdrop of Newcastle jazz fusion band, Knats.

TikTok’s Non Blondes

ASCAP’s 4 Non Blondes’ resurgence from TikTok viral user videos (“What’s Up/Beez in the Trap”), Spotify Billions Club, two billion YouTube views, has Linda Perry launching Kill Rockstars imprint, 670 Records. Solo album (Let It Die Here) and 4 Non Blondes album (33 years later) coming soon.

Moreland’s Songwriting Win

Oklahoma’s John Moreland Wins Top Honors at 30th annual USA Songwriting Competition with “Visitor.” He was No. 83 on 2024’s Billboard Hot 100 for “Memphis, The Blues” (Zach Bryan) and opened for Jason Isbell, Dawes, Patty Griffin. 2026 contest on now. See songwriting.net/winners.

Franco’s Sweet Petunia

Indie-folk duo Sweet Petunia (Madison Simpson/Mairead Guy)—with unapologetic identity, political beliefs and moral compass— sign to Ani DiFranco’s Righteous Babe Records, a dedication to community and social activism shines through ‘DIY grit-meets-Appalachian soul.’ Listen at youtube.com/watch?v=9AYHE4RNOdA.The post Song Biz, February 2026: What's Going On This Month first appeared on Music Connection Magazine.

Native Instruments GmbH enters preliminary insolvency
As first reported by Create Digital Music (CDM), Native Instruments GmbH has entered into preliminary insolvency proceedings. This news, understandably, sets off alarm bells for producers worldwide who have invested heavily in NI products. As questions continue to mount, the most important ones will likely remain unanswered for a while, as insolvency introduces a period [...]
View post: Native Instruments GmbH enters preliminary insolvency

Applied Acoustics Systems Synchronicity for Strum GS-2With Synchronicity, his fifth Strum sound pack, Brazilian producer and keyboard virtuoso Thiago Pinheiro delivers a captivating blend of expressive tones and atmospheric guitar textures. Perfectly suited for cinematic, ambient, and contemporary styles, Synchronicity blurs the line between traditional guitar playing and modern production, offering a versatile toolkit for evocative soundscapes and layered compositions. Ranging from dreamy and mysterious to expansive and immersive, its eighty-four distinctive presets were carefully crafted to capture the essence of the guitar while introducing fresh, textural possibilities. With 12 styles, 84 guitar presets, and 84 strumming patterns playable with your own chord progressions, Synchronicity is ideal for adding rich layers of mood and movement to your productions. Who's Thiago Pinheiro? Thiago Pinheiro was born and raised among Brazilian musicians of great importance and his talent was revealed at an early age and followed closely. Gifted with perfect pitch, he began composing on the piano at age four, and by the time he was twelve, Thiago had performed alongside major players such as Stevie Wonder, Billy Cobham, Gilberto Gil, and Hermeto Pascoal. Producer and director Thiago Pinheiro is an acclaimed virtuoso and audio technology pioneer, as well as a versatile pianist and keyboard player, whose work ranges all the way from blues and jazz, to house, drum and bass, and other electronic genres. Constantly striking dance floors across Brazil, Europe, Asia, and especially in the United States, Thiago also produces music for Hollywood and the movie industry. Read More