Apple Creator Studio: Logic Pro, Final Cut and all your favourite creative apps are now available in one subscriptionApple has unveiled Apple Creator Studio, a new subscription bundle that combines its most powerful creative software – including Logic Pro – into a single monthly or annual plan. For those already paying for Logic Pro’s subscription, the new bundle stands as a reasonably good-value upgrade, folding Apple’s wider pro app ecosystem into one package across Mac, iPad and iPhone.

READ MORE: PreSonus Studio One Pro becomes Fender Studio Pro: here’s what it means for producers

Priced at $12.99 per month or $129 per year, Apple Creator Studio includes Logic Pro, Final Cut Pro and Pixelmator Pro on both Mac and iPad, alongside Motion, Compressor and MainStage on Mac. Subscribers also gain access to new intelligent features and premium content across Keynote, Pages and Numbers, with Freeform support coming later.
Alongside the new bundle, Apple is also rolling out fresh AI-powered features for Logic Pro, starting with the addition of a Synth Player to Logic Pro’s AI Session Player lineup. Capable of delivering electronic music performances with a diverse range of chordal and synth bass parts, Apple describes it as “like having access to a skilled synthesist that can instantly take a musical idea in new directions when needed”.

And as with all AI Session Players, creators can direct Synth Player using intuitive controls for complexity and intensity, along with various performance options. Synth Player can also be used to control third-party plugins or external hardware synths, giving producers flexible options for both in-the-box and hybrid setups.
Another key addition is Chord ID, a “personal music theory expert” that turns any audio or MIDI recording into a ready-to-use chord progression. Chord ID can analyse complex harmonic content from nearly any recording to automatically populate the chord track in Logic Pro. And since the chord track drives the performances of any AI Session Player, users can quickly audition different players, styles, and genres before dialling in their preferred vibe.
Apple Creator Studio will be available on the App Store from Wednesday, 28 January, with a one-month free trial. Students and educators can subscribe for $2.99 per month or $29.99 per year. For those who prefer not to subscribe, Apple continues to offer one-time purchases of the Mac versions of Logic Pro, Final Cut Pro, Pixelmator Pro, Motion, Compressor and MainStage via the Mac App Store.
Learn more at Apple.
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“Everything will die”: How music gear is harming the environmentMany of us are aware of the environmental impact from factors such as pollution from the burning of fossil fuels. However, the impact of the music gear we buy and use on the planet’s health rarely enters the conversation.

READ MORE: Phone screens are “ruining the club experience”; could wearable tech save screen-plagued dancefloors?

What’s the carbon footprint of your synthesizer? How do festivals and live sound impact the environment? And what about generative AI? We look into these three key areas and speak with manufacturers about the steps they’re taking to address them.
Live sound’s environmental impact
Thanks to some outspoken artists, such as Massive Attack, festivals and live performance venues are reassessing their environmental impact. Changes are underway, with large batteries and onsite solar panels offsetting some of the power usage. But there’s another area where more needs to happen: the speakers. Or, more specifically, the magnets inside them.
“We have a climate risk register with seven things on it, and only one of those specifically calls out one material,” says Andy Land, the head of sustainability for the Focusrite Group. This includes live sound outfits like Martin Sound, which has rigs at Glastonbury, among many other events. That one material? Neodymium, which is required to make high-performance speaker magnets that can output at a high enough level without weighing beyond what is safe for a crew to lift. These rare earth magnets also appear in gadgets like smartphones, hard drives and electric cars, and their environmental impact starts at extraction and continues throughout their lifecycle.
“The bigger issue is not that we can’t find an alternative,” laments Andy. Iron ferrite magnets are acceptable to use when weight isn’t as much of an issue. The problem, ultimately, is access. “We’re in competition with electric car manufacturers and wind turbine manufacturers who want a neodymium alternative as well, and their buying power is magnitudes higher than ours.”
Thankfully, other materials used by the live sound industry, such as plastics, are improving. “They’ve been making really good progress with switching all that plastic to recycled plastic,” Andy says, “and they’ve had no issues with that, to be honest.” They’re also using bioplastics produced from renewable biomass sources in outdoor weatherised speaker cabinets.
Advancements made by Martin Sound and associated brands are having a positive knock-on effect with the rest of the Focusrite Group as well. “They seem to be having a lot of success with this stuff, and they’re almost becoming the R&D lab for the entire group on sustainability engineering projects,” says Andy, “and then everyone else copies what the live sound side does. Which is working quite well, actually.”
Synthesizer manufacturing
How green is your synthesizer? That’s a question that Priscilla Haring-Kuipers, the general manager of Dutch boutique synth manufacturer This Is Not Rocket Science, wants people to ask. The topic of ethical electronics should be important, she asserts, and has written on the topic in electronics publications like Elektor.
After releasing their Fénix IV, a self-contained modular synthesizer, a few years ago, Priscilla decided to calculate the carbon footprint of the manufacturing process using Idemat, an app aiming to help designers create more sustainable products.
What goes into a synthesizer? To start with, there are the PCBs, although you have very little control over their makeup. As Andy Land noted in Light and Sound magazine, “With PCBs and semiconductors, we’re at the whim of whatever the Taiwan producer does. We have to wait for them to improve their stock—we don’t have the buying power to influence that.”
There are also other materials to measure, such as aluminium for the case, components, plastic for the knobs and buttons, cardboard and bubble wrap for the packaging, and so on. But for This is Not Rocket Science, one other element was far and away the biggest contributor to CO2 generation.
“I did the whole calculation for the building of the Fénix IV,” Priscilla explains. “And by far, the biggest CO2 cost of the entire production was us flying to China to source a bunch of the components.” One trip to Shenzhen used 5450kg of CO2. “Everything included [in four years of making 100 units] was about equal in CO2 to one flight back and forth to China.”
To offset this, This Is Not Rocket Science has made the decision to not fly anymore. “The reason why we’re not flying is the Fénix.” It is also compensating the entire run with the carbon offset organization, TreesForAll.
Generative AI
Generative AI has emerged in the last few years as a real hot button issue for musicians. Although the main point of contention so far has been the unethical way that AI has been trained on existing, copyrighted music, there’s a real environmental downside to the emerging technology as well.
According to a just-released study, AI had as much impact on the environment this year as did New York City. In what could actually be a fairly conservative estimate due to the lack of publicly available data, the study found that global demand for AI could hit 23 gigawatts this year, with between 32.6 and 79.7 million tons of CO2 being released into the atmosphere. That’s a lot of prompts. New York City, by comparison, is responsible for 50 million tons.
AI sucked up a significant amount of water this year as well, reportedly as much as the world drinks in bottled water. Water is used to cool data centers and keep servers from going into the red. There’s also a demand for water use at power plants, which use H2O to rotate turbines with steam. More data centers means more power plants necessarily coming online, which will only exacerbate the problem.
There’s also the issue of how to dispose of what is left after you remove the water. “Basically, you take a bunch of water out of a river, and you evaporate it into the sky,” explains Andy. “You’re left with a salty brine of whatever minerals were left at the data centre, and that has to be disposed of correctly. You can’t just release that into the river because it would just be like dumping salt into a river. Everything will die.”
Unfortunately, where audio AI companies like Suno and Udio fit into this is hard to say because of the industry-wide lack of transparency. “I don’t know where audio generation fits within this,” says Andy. “There’s not enough research or data available about audio generation.”
What we do know is that across AI companies, both training and end-user prompts require large amounts of energy; prompts in particular, as scale grows. “Deploying these models in real-world applications, enabling millions to use generative AI in their daily lives, and then fine-tuning the models to improve their performance draws large amounts of energy long after a model has been developed,” says MIT News.
While the conversation around the theft of music for training purposes is absolutely an important one, we also shouldn’t lose sight of the environmental impact of AI, one that will only continue to grow as more people make use of it.
What can be done?
What needs to be done? We as consumers can certainly buy from companies with green policies, ask companies about their manufacturing processes, and take public transportation to festivals and other events.
“For any event, currently the biggest footprint is always the audience travel to the event,” notes Andy. “How you get there is probably the biggest thing an individual can influence on that side of things, because they’re not going to be able to plug in their own battery and contribute a little bit of power. That’s not realistic.”
Ultimately, however, the responsibility for ethical electronics lies not with consumers but with the manufacturers themselves. “I don’t believe it’s right to focus on what individuals can do because the companies are the ones that control these things,” says Andy.
“Consumers shouldn’t be burdened with the task of having to worry about these things. It should be the companies that are responsible for those emissions doing the work.”
Priscilla recommends that companies put environmentally friendly policies in place before manufacturing, rather than trying to fix things later. “Ideally, metrics such as the carbon footprint should be available in the component libraries of your design software,” Priscilla writes in Elektor. “Then you would have this information … when you are still making choices about what to create. When you have the audacity to add something to the world that did not exist before, there are consequences.”
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GRAMMY Nominations 2025: Best Music FilmThe 2025 GRAMMY nominations are here and we're going to help you to untangle it all right up until the big event, continuing with the Best Music Film category.

Take a listen to the nominated films below--who do you think will win?

See the full list of nominees in every category here.

DevoDevoChris Smith, video director; Danny Gabai, Anita Greenspan, Chris Holmes & Chris Smith, video producers

Live At The Royal Albert HallRayePaul Dugdale, video director; Stefan Demetriou & Amy James, video producers

RelentlessDiane WarrenBess Kargman, video director; Peggy Drexler, Michele Farinola, Bess Kargman & Kat Nguyen, video producers

Music By John WilliamsJohn WilliamsLaurent Bouzereau, video director; Sara Bernstein, Laurent Bouzereau, Justin Falvey, Darryl Frank, Brian Grazer, Ron Howard, Meredith Kaulfers, Kathleen Kennedy, Frank Marshall, Steven Spielberg & Justin Wilkes, video producers

Piece By PiecePharrell WilliamsMorgan Neville, video director; Morgan Neville, Caitrin Rogers, Mimi Valdes & Pharrell Williams, video producersThe post GRAMMY Nominations 2025: Best Music Film first appeared on Music Connection Magazine.

Crypto-friendly Old Glory Bank plans Nasdaq listing through SPACThe “digital-first“ bank created in 2022 is set to go public on the Nasdaq, subject to shareholder and regulatory approvals.

New York governor clears path for robotaxis everywhere, with one notable exceptionNew York City will be a notable exclusion from proposed legislation to legalize commercial robotaxis across the state.

Hacking the Krups Cook4Me Smart Cooking Pot for DoomWith more and more kitchen utilities gaining touch screens and capable microcontrollers it’d be inconceivable that they do not get put to other uses as well. To this end [Aaron Christophel] is back with another briefly Doom-less device in the form of the Krups Cook4Me pressure cooking pot with its rather sizeable touch screen and proclaimed smarts in addition to WiFi and an associated smartphone app.
Inside is an ESP32 module for the WiFi side, with the brains of the whole operation being a Renesas R7S721031VC SoC with a single 400 MHz Cortex-A9. This is backed by 128 MB of Flash and 128 MB of RAM. The lower touch interface is handled by a separate Microchip PIC MCU to apparently enable for low standby power usage until woken up by touch.
The developers were nice enough to make it easy to dump the firmware on the SoC via SWD, allowing for convenient reverse-engineering and porting of Doom. With the touch screen used as the human input device it was actually quite playable, and considering the fairly beefy SoC, Doom runs like a dream. Sadly, due to the rarity of this device, [Aaron] is not releasing project files for it.
As for why a simple cooking pot needs all of this hardware, the answer is probably along the lines of ‘because we can’.

Sony Music Publishing acquires Big Yellow Dog MusicCompany was founded in 1998 by Kerry O’Neil and Carla Wallace and based in Nashville
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HoRNet offers FilterSolo FREE for 48 Hours with coupon code
HoRNet Plugins has made FilterSolo, a multi-mode filter plugin with analog-style saturation and extensive modulation features, available for FREE for the next 48 hours with the coupon code FILTERFREE26. FilterSolo combines multi-mode filtering with modulation, a bit of saturation, and simple hands-on controls. It features four filter types (low pass, high pass, band pass, and [...]
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Best Service Dark Era 2Dark ERA 2 is a sample library for the Best Service Engine Player, created by sound designer Eduardo Tarilonte. Serving as a significant expansion to the previous ERA title, this collection focuses on a sonic palette inspired by ancient, pre-classical musical forms. The library is designed to evoke a world of ritual and collective expression, utilizing archaic instruments, raw vocal performances, and physical rhythms to generate organic, historical textures suitable for period pieces and fantasy scores. Geared towards cinematic production and sound design, the instrument collection features driving drums, distinctive strings, and winds, alongside a versatile vocal section. Beyond traditional instrumentation, Dark ERA 2 includes rhythmic pads, drones, and percussive atmospheres suited for underscoring and transitions. All content is tempo-synced and fully integrated into the Engine Player, allowing for performance-focused layering and precise mixing control within the interface. Key Features Expanded Content: Includes approximately 100 additional sounds compared to the previous version. Rhythmic Focus: Performance-driven drums, percussion, and vocals designed for rhythmic interplay. Vocal Instruments: Range from subtle textures to distinct phrases. Sound Design: Dynamic layers for creating transitions, tension, and atmosphere. Integration: Full Engine Player integration supporting tempo sync and flexible layer mixing. https://youtu.be/C9DwKi-6K1I Read More

Bruno Mars Is Back on Tour in 2026 — a Timeline of His Iconic Live PerformancesA seasoned performer at the top of his craft, Bruno Mars uses live performances to showcase the best of what he has to offer his listeners. Here are some of his most iconic on-stage moments.
The post Bruno Mars Is Back on Tour in 2026 — a Timeline of His Iconic Live Performances appeared first on Hypebot.

How to Get Your Song to 1,000 Streams [Marketing Plan]Artists, here's a breakdown of exactly how to spend your time and budget to make the biggest impact, and get your track to 1k streams.
The post How to Get Your Song to 1,000 Streams [Marketing Plan] appeared first on Hypebot.

PreSonus Studio One Pro becomes Fender Studio Pro: here’s what it means for producersPreSonus Studio One has found a new home under the Fender umbrella as Fender Studio Pro – as the Big F looks to provide the most cohesive DAW environment possible for creators and producers.
Alongside the consolidation of PreSonus Studio One into Fender Studio Pro, PreSonus’s Quantum and AudioBox interface lines are also being rebranded under Fender. Meanwhile, the PreSonus brand remains focused on studio and live gear, maintaining its popular lines of studio monitors, PA speakers, and digital consoles. Fender acquired PreSonus back in 2021.
What does this mean for current Studio One users?
Credit: Fender
If you’ve been using Studio One in your recording, music production, and mixing workflows, there’s no cause for alarm. Fender Studio Pro 8 is the next logical progression of Studio One, and it sits at the centre of the new Fender creator universe. In preparation for this shift, the PreSonus and Fender teams have been working hard to ensure that Studio Pro 8 is the most advanced, efficient, and creative DAW platform that it can be.
As there hasn’t been a UI update in Studio One in some time, Fender Studio Pro brings a fresh look and feel. It’ll still feel familiar to existing users, but features like the Arrangement Overview improve the experience on smaller displays, as well as a new Channel View that gives you an overview of the inserts on the selected channel, with access to key parameters.
Futher feature enhancements include the addition of Mustang and Rumble native plugins, with a range of 39 amps for guitar and bass, and over 70 effects pedals. These plugins have similar interfaces to the Fender Tone app and the Fender Studio mobile and desktop app, the latter of which has also been updated to version 1.2. The Fender Studio app becomes the pocket partner of Studio Pro, with full real-time Wi-Fi integration that allows you to transfer projects and scale your ideas up to fully-fledged productions.
Credit: Fender
Meanwhile, for producers and beatmakers, there are improvements to the range of included virtual instruments. This includes interface updates across the board, as well as some user-requested feature additions for the Impact and SampleOne instruments. This is particularly exciting in the context of the newly redesigned Fender Motion MIDI controllers coming this Spring. This will provide a tactile platform to harness all the new and existing features, giving you a similar feel to some of the legendary sampler/sequencers of the past.
“We live so much of our lives in music today in the digital domain compared to where we were even 10 years ago,” says Max Gutnik, Chief Product Officer at Fender. “As the modern signal chain has gone digital, an iPhone could easily become the guitar amp for the new generation of musicians. This is why we want to ensure that the modern signal chain evolves with them, and the level of creative inspiration is consistent as they move between hardware and software.”
What are some of the notable music production and live performance features?
Credit: Fender
Fender Studio Pro brings a range of improvements which expand the platform’s potential from a creative standpoint. The integration of AI-assisted stem splitting has been refined for more practical applications. For accurate drum replacement, you can isolate the drum hits in an existing audio file and convert them to MIDI in a single-step process called Extract Drums. Equally, you can use the Extract Notes feature to transfer a recorded instrument take into MIDI and use it with a software instrument of your choosing.
The same process can also be performed with chords, and the extracted information is instantly transferred to the Chord Track. The Studio Pro Chord Track, with its drag-and-drop import functionality, is particularly useful because it can feed chord information to 3rd-party plugins like Celemony Melodyne and others from developers like UJAM. Also, with the new AI enhancements, you can access the chord recommendation database in the backend of Studio Pro. There is also some crossover functionality, because the new version 1.2 update of Fender Studio adds the Chord Track, with a chord detection function to find out the chord sequence of any song.
On top of all this, Studio Pro’s Show Page now enables you to send a video file alongside each of your backing tracks via HDMI, visually enhancing your stage performance. What’s impressive, too, is the new integration with the Fender Tone Master Pro guitar processor, as it becomes a controller for your setlist and transport functions while being able to receive program changes that ensure you have the corresponding tone for each of your songs.
What inspired the change from PreSonus to Fender?
Credit: Fender
The change came as Fender recognised the potential for musicians to user their affinity for guitars and Fender as a brand to channel that inspiration into the creative workflow of Studio Pro. With the marriage between Fender and PreSonus, the development teams create a symbiotic system that can deliver the best of both technological worlds to benefit both new and experienced users alike.
This consolidation will allow Fender to evolve with the next generation of musicians, and by doing so, remain at the forefront of creative technological development in this ever-changing space.
“One of the biggest challenges we face today is inspiring new creatives to actively make music,” says Arnd Kaiser, General Manager for Software at PreSonus. “Rather than simply providing a range of integrated technological solutions, the synergy between Fender and PreSonus bolsters the way we relate to musicians. Studio One was already a popular DAW with guitarists, but this new transformation presents the creative potential of Studio Pro to a wider range of users, in any musical genre.”
How can I get Fender Studio Pro?
Fender Studio Pro is available now, with a perpetual license priced at $199.99/£169.99, or a monthly subscription priced at $19.99/£19.99. A number of upgrade options are also available for existing users.
You can learn more by heading over to Fender.
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Loewe teams up with Kylian Mbappé on new Bluetooth speaker, the We. HEAR ProAfter tapping Kylian Mbappé for the launch of its first-ever over-ear headphones back in September, German electronics brand Loewe has partnered with the French football star once again on a new Bluetooth speaker, the We. HEAR Pro.
Designed in collaboration with the Real Madrid striker, the We. HEAR Pro features a cylindrical design in an array of colours – with one emulating even the most neon of football boots – and aims to symbolise the “fusion of sporting excellence and cutting-edge technology”.

READ MORE: Why you should – or should not – upgrade to Cubase 15

Promising 24 hours of battery life – chargeable to full in just two hours via USB-C – the We. HEAR Pro has a frequency range between 50 Hz and 20 kHz at an 88 dB sound pressure level for a “deeply immersive listening experience”, and boasts an array of drivers, passive bass radiators and a class-D amplifier for a “powerful and pristine” sound.
Credit: Loewe
Optimised for horizontal placement, the speaker allows for direct control of bass and treble, and also has the ability to wirelessly sync via Bluetooth to up to 14 other We. HEAR Pro devices, meaning you can get creative with multi-speaker setups.
The We. HEAR Pro is also built for portability and durability. It’s water and dust resistant and comes with a handy shoulder strap, while further useful features include a built-in microphone for calls, and the unit can even double as a power bank, too.
Credit: Loewe
As an added visual touch, the speaker also sports Kylian Mbappé’s initials.
Available in three colourways – denim, neon and black – the We. HEAR Pro is available now both via Loewe’s online store, and at Real Madrid’s flagship store at the Santiago Bernabéu in the Spanish capital.
Price-wise, the We. HEAR Pro clocks in at £249.99.
Learn more at Loewe.

The post Loewe teams up with Kylian Mbappé on new Bluetooth speaker, the We. HEAR Pro appeared first on MusicTech.

Hans Zimmer criticises Golden Globes for not airing Best Original Score category: “It’s a shame not to honour those people who work so hard”Hans Zimmer has shared his disappointment over the Golden Globes’ decision to not televise its Best Original Score category.
The 83rd annual Golden Globes, which honours work across film and TV, took place on Sunday 11 January in Beverly Hills, California. Zimmer was nominated in the Best Original Score category for his work on F1: The Movie, starring Brad Pitt.

READ MORE: “At that moment, I thought only an idiot would say no”: How an invitation from Pharrell Williams ended Hans Zimmer’s fear of performing live

Other nominees included Max Richter (Hamnet), Alexandre Desplat (Frankenstein), Jonny Greenwood (One Battle After Another), and Kangding Ray (Sirāt). Ultimately, Ludwig Göransson won the Golden Globe for his work on the score for Sinners.
Speaking to Variety prior to the ceremony, Zimmer shared his belief that the work on movie scores should always be acknowledged: “I think it’s a shame not to honour those people – my friends – who work so hard to become a voice, to give the tone to help you navigate the emotional content of the film,” he said.
“As a person who has been making films forever, everybody who works on a film does their utmost, doesn’t get any sleep, there are no weekends. Sometimes my children wonder who I am, I come into the house and they call the police,” he joked.
“I think the work should always be acknowledged. This year is a fantastic year for composers – don’t ignore them, you don’t have a movie without them.”
You can watch his interview from the 39:54 timestamp:

Last year it was reported that a planning application for a “retrofit-first refurbishment” of Maida Vale was officially submitted to Westminster City Council by a group consisting of Zimmer, his business partner Steve Kofsky, and British film producers Eric Fellner and Tim Bevan.
A website launched prior to the approval outlined the group’s mission to set “new benchmarks for excellence in British film and music post-production, fostering the creation of new jobs, driving innovation, and promoting industry investment.” The application was later approved, and it was reported that work on the site is due to commence in October 2026.
The post Hans Zimmer criticises Golden Globes for not airing Best Original Score category: “It’s a shame not to honour those people who work so hard” appeared first on MusicTech.

Hip-hop remains Splice’s most downloaded genre for the third year in a rowHip-hop has taken the top spot as the most downloaded genre on Splice for the third year in a row, according to its joint Sounds of 2026 annual report with MIDiA Research.
The report tracks the genres, sounds, and trends shaping the sound of music, and the new data has shown a “turning point” is emerging in across the industry, as listening habits continue to fragment and micro-trends are leading to genre fluidity.

READ MORE: Universal Music Group and Splice are partnering to build “commercial AI tools” for music creation

Hip-hop holds its position as the most downloaded genre and trap remains the top sub genre, but throwback sounds like G-funk, boom bap, and underground sounds like rage and pluggnb are driving growth, according to the report.
Afro house has been chosen as Splice’s ‘sound of the year’, with house rising from 2023’s 5th most downloaded genre to 2nd in 2025. Afro house has driven 70 percent of that growth in the past year and melodic house has grown by 275 percent to 3.2 million downloads.
Pop has also made a resurgence in popularity across Splice, and is back in the top three after having dropped from 2nd to 4th position in 2024. Hyperpop and indie pop are leading sub genres, but bedroom pop is the biggest growth story within the genre, with downloads rising 297 percent. There were also two million downloads of a 2000s Power Tools pop pack from Oliver, the producer behind the key samples used in Sabrina Carpenter’s Espresso.

Overall, the research shows that music is undergoing “a once-in-a-decade shift” as fans and artists are exploring what it means to “create and connect at a time when technological advances are bringing about changes in global exchange, democratisation, and personalisation at an unprecedented speed”.
“Music has entered an era where the biggest trends are personal,” says Kakul Srivastava, CEO of Splice. “Our data shows creators pulling inspiration from everywhere at once, blending global sounds and local scenes to create music that feels both deeply human and culturally expansive. Sounds of 2026 captures that shift in real time.”
Mark Mulligan, Managing Director and Music Analyst at MIDiA Research, adds: “In a music economy increasingly shaped by micro-trends, sample usage offers one of the clearest signals of what’s coming next. The sounds creators choose today reflect not only genre evolution, but deeper cultural shifts towards global exchange and scene-driven growth.”
Find out more and read the report over at Splice. You can also learn more about MIDiA Research.
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