Live Nation launches $30 ticket deal for over 1,000 summer 2025 concertsBeen holding off on concert plans because of high ticket prices? Live Nation is here to change that with a limited-time deal offering $30 all-in tickets to over 1,000 concerts this summer.
Going on sale starting 21 May, the “$30 Ticket to Summer” promotion includes access to shows across the US and Canada from artists such as The Offspring, Pantera, “Weird Al” Yankovic, Avril Lavigne, Billy Idol, Halsey, and The Black Keys, among many others.

READ MORE: SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the future

Fans with early access through T-Mobile and Rakuten can purchase tickets beginning Tuesday, 20 May 10AM EST by visiting the companies’ respective platforms to obtain a presale code. General public sales launch the following day, Wednesday, 21 May at 10AM local time, via Live Nation’s official Ticket to Summer website.
The deal applies to a wide range of performances at Live Nation amphitheaters across the country, with tickets priced at $30 flat – all fees included. Visitors to the Ticket to Summer site can filter their search by artist, venue, or location to find eligible events near them.
More shows are expected to be added throughout the summer as well, so remember to check back regularly for new listings.
The initiative comes at a time when music lovers continue to voice frustration over soaring ticket prices. Last year, a study by global research firm YouGov revealed that UK concertgoers pay an extra £145 million annually to ticket touts, with nearly half of surveyed fans saying they struggle to identify legitimate resale platforms.
Roughly one in five tickets, the report added, end up on a resale platform of some sort.
O2, which facilitates over a million ticket sales annually through its Priority customer reward platform, said of the findings: “We are tired of professional ticket touts abusing the market and stealing tickets out of fans’ hands.”
“Music fans deserve the chance to buy tickets at a price set by their favourite artist, but all too often they are forced to pay a price decided by a stranger on the internet. Consumers deserve more protection and better information about the tickets they’re paying for.”
Check out the full list of participating shows at Live Nation’s Ticket to Summer website.
The post Live Nation launches $30 ticket deal for over 1,000 summer 2025 concerts appeared first on MusicTech.

Ethereum Foundation unveils security initiative to supplant legacy systemsThe Ethereum Foundation has launched a security initiative aimed at supporting the broader adoption of onchain technologies, according to a May 14 announcement. The effort is part of an ongoing push to strengthen Ethereum's role in programmable digital assets.Fredrik Svantes, a protocol security research lead, and Josh Stark from the Ethereum Foundation management team will be the initial co-chairs of the initiative. Three contributors to the Ethereum ecosystem — samczsun, Medhi Zerouali, and Zach Obront — will help guide the project.Called the Trillion Dollar Security Initiative, the effort seeks to analyze, improve, and communicate to Ethereum developers areas where security can be improved, including user experience, wallet security, smart contract security and infrastructure.According to DefiLlama, Ethereum still is the leading ecosystem for decentralized finance (DeFi), having held between 50-60% of the total value locked across all blockchains since May 2022. The network's TVL stands at nearly $80 billion as of May 14. Blockchains by total-value-locked. Source: DefiLlama“Achieving Trillion Dollar Security is only possible with the support of the broad Ethereum ecosystem,” the Foundation said in a statement. “Billions of individuals are each comfortable storing more than $1,000 onchain, collectively amounting to trillions of dollars secured on Ethereum," it added.Related: Vitalik Buterin outlines vision as Ethereum ecosystem addresses hit new highEthereum rebounds with Pectra upgradeEthereum’s struggles during this bull market have been well-documented. It has suffered from low traffic and a lack of attention-grabbing use cases, and its layer-2 chains that make Ethereum faster have been plagued by bad UX. But then came the Pectra upgrade.Pectra, Ethereum’s most significant upgrade since The Merge, has delivered three key improvements, including external accounts as smart contracts, increased staking limits and data blobs per block.Ethereum’s native token (ETH) price has risen significantly since the upgrade, jumping over 43% since May 7. Magazine: Comeback 2025 — Is Ethereum poised to catch up with Bitcoin and Solana?

Loaded Dice Entertainment & Amaze Partner in Strategic Merchandise DealAmaze Holdings Inc. has announced that it has been selected by Loaded Dice Entertainment as its official merchandise partner.  "Loaded Dice empowers independent musicians through artist development programs, transparent revenue-sharing, robust music distribution, and innovative marketing strategies," reads a statement. "As part of the partnership, Amaze will host both Loaded Dice branded merchandise and artist-specific items that will be appreciated by fans worldwide. The first Loaded Dice artist featured on the Amaze storefront is Hudson Thames, whose debut album BAMBINO was recently released and whose storefront includes artist designed sweatshirts, t-shirts, and hats."“Partnering with Loaded Dice provides the brand and its artists with unparalleled opportunities for new exposure amongst Amaze’s users,” said Aaron Day, CEO of Amaze. “As Loaded Dice helps artists with their music, Amaze will help artists reach new audiences and easily create and sell merchandise on their own. Merchandise revenue can be a significant support for artists, and we look forward to empowering artists to create and sell items that represent their art and resonate with their fans.”“From day one, Loaded Dice has been committed to creating a distinctive environment where artists can thrive creatively and professionally. As we continue to grow, it’s essential that we align with partners who share our values and vision. That’s why we’re thrilled to announce our partnership with Amaze. Together, we’re empowering our artists to express their authentic style, reach new audiences, and offer fans innovative merchandise experiences that go far beyond the traditional. We’re excited to collaborate with the Amaze team as we redefine what fan engagement and artist support can look like,” said Jeff Z (Zuchowski) and Chad Doher, Co-Founders of Loaded Dice.Find out more at amaze.com.The post Loaded Dice Entertainment & Amaze Partner in Strategic Merchandise Deal first appeared on Music Connection Magazine.

YouTube viewers will start seeing ads after ‘peak’ moments in videosImagine you’re watching a highly anticipated video from your favorite YouTube creator — perhaps the moment a famous couple finally gets engaged — when an ad pops up immediately after the clip. This is part of YouTube’s new ad format called “Peak Points.” The company revealed the new ad format during its Upfront presentation on […]

Your Own Core Rope MemoryIf you want read-only memory today, you might be tempted to use flash memory or, if you want old-school, maybe an EPROM. But there was a time when that wasn’t feasible. [Igor Brichkov] shows us how to make a core rope memory using a set of ferrite cores and wire. This was famously used in early UNIVAC computers and the Apollo guidance computer. You can see how it works in the video below.
While rope memory superficially resembles core memory, the principle of operation is different. In core memory, the core’s magnetization is what determines any given bit. For rope memory, the cores are more like a sensing element. A set wire tries to flip the polarity of all cores. An inhibit signal stops that from happening except on the cores you want to read. Finally, a sense wire weaves through the cores and detects a blip when a core changes polarity. The second video, below, is an old MIT video that explains how it works (about 20 minutes in).
Why not just use core memory? Density. These memories could store much more data than a core memory system in the same volume. Of course, you could write to core memory, too, but that’s not always a requirement.
We’ve seen a resurgence of core rope projects lately. Regular old core is fun, too.

Maarten Steinkamp appointed Interim President of Armada Music GroupSteinkamp has worked closely with Armada as an interim board consultant for the past several months
Source

Get the Levine’s Machines – Drum Machine Linn LM-1 Plugin for $79 for a limited time
Iconic Instruments has partnered with legendary producer Steve Levine to create Levine’s Machine software series. The series recreates some of the most-used hardware from Steve’s studio in the virtual realm, and Levine’s Machines – Drum Machine is the first installment. Levine’s Machines – Drum Machine is an authentic recreation of Steve’s LM-1 drum machine. The [...]
View post: Get the Levine’s Machines – Drum Machine Linn LM-1 Plugin for $79 for a limited time

M-Audio announce M-Track Duo HD Aimed at musicians, producers, podcasters, streamers and content creators, the M-Track Duo HD promises to avoid the trade-off between ease of use and professional results.

SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the futureSoundCloud’s CEO Eliah Seton has penned an open letter to its users following suspicion that it was using artists’ content to train AI.
Earlier this May, SoundCloud users raised concerns about the platform’s Terms of Use, which seemingly suggested that their content “may be used to inform, train, develop or serve as input to artificial intelligence”. However, there was a misunderstanding about what this actually meant.
The term had been in place since February 2024, but had garnered new attention online. Following the panic, SoundCloud affirmed that it has never used any artist content to train generative AI, and that the term actually referred to its internal use of AI, including personalised recommendations, content organisation, fraud detection, and improvements to content identification.

READ MORE: Spotify’s AI DJ now takes requests

Now, Seton has set out to further reassure its user base, and most importantly, has also promised better clarity on AI from now and into the future. The brand has also scrapped the original term from its ToU article which caused the alarm, and replaced it with a much clearer statement.
Seton’s letter reads, “SoundCloud has never used artist content to train AI models. Not for music creation. Not for large language models. Not for anything that tries to mimic or replace your work. Period. We don’t build generative AI tools, and we don’t allow third parties to scrape or use artist content from SoundCloud to train them either.
“In fact, we’ve already put protections in place like a ‘no AI’ tag that explicitly signals content on SoundCloud can’t be used for AI training. At SoundCloud, protecting artist rights isn’t new for us and being artist-first isn’t a slogan. It’s core to who we are and always will be. It’s in our DNA.”
The statement later explains, “Our use of AI is focused on discovery – helping fans find new music and helping artists grow, starting with their first fans. That’s core to our mission. Three years ago we expanded our AI and machine learning capabilities through the acquisition of Musiio which significantly improved how we connect creators with listeners, fuel music discovery and help rights holders identify what’s next.”
Further to this, Seton has taken responsibility for the language in SoundCloud’s ToU document for being “too broad”, and has said it “wasn’t clear enough”: “It created confusion, and that’s on us. That’s why we’re fixing it,” he says.
As a result, SoundCloud’s ToU now reads, “We will not use your content to train generative AI models that aim to replicate or synthesise your voice, music, or likeness without your explicit consent, which must be affirmatively provided through an opt-in mechanism.”

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Seton emphasises that SoundCloud believes AI should support and not replace artists, and that you’ll see further changes reflected online within its Terms of Use in the coming weeks.
“Our approach will always be guided by a single principle: artist-first. We’re going to keep showing up with transparency. We’re going to keep listening. And we’re going to make sure you’re informed and involved every step of the way,” he concludes.
For more information, you can read the full letter from Eliah Seton via the SoundCloud website. 
The post SoundCloud CEO writes open letter following AI Terms of Use panic and promises more transparency in the future appeared first on MusicTech.

Triceratops | decap Bottom HeavyBottom Heavy – Multiband Distortion €24.99 (excl. VAT) | VST3 & AudioUnit | Mac & Windows | Lifetime Updates. Crush. Mangle. Obliterate. Bottom Heavy isn't just distortion—it's pure, unapologetic audio destruction. Designed for hardcore bass heads, techno freaks, and distortion junkies, this multiband beast delivers everything from earth-shaking low-end growls to ear-splitting mid and high-end punishment—without turning your mix into mush. Oh yeah, and there's a voluptuous booty shaking on the UI. You're welcome. Why Bottom Heavy? Heavy. Fucking. Distortion. Never-before-heard waveshaping that goes beyond standard clipping and saturation. Multiband Madness. Separate distortion settings for low, mid, and high frequencies—sculpt your filth with precision. Hilbert Transform Drive. Generates harmonics that follow your drive factor for a completely unique sound. Randomize Everything. Hit a button and let chaos take the wheel. Simple but Deep. One macro knob to control the madness, plus dry/wet, post gain, and fat, bass-heavy presets to get you started. Made for the Wild Ones This is not a plugin for your dad's jazz quartet. Bottom Heavy was built for producers pushing sound to the extreme, including: Hardcore, Hardstyle & Rawstyle producers. Dubstep & Phonk beatmakers. Noise & Industrial artists. Techno & Heavy Ambient sound designers. Trap & Drill producers looking for raw, dirty textures. One-Time Purchase. Lifetime Updates. €24.99 (excl. VAT) – Get all future updates, refinements, and potential new features for free. Refunds? Yeah, We've Got You. 30-day refund policy (because we legally have to). You won't find Bottom Heavy anywhere else. Get it exclusively here. Read More

Waz-u: “If you want to do something unexpected, be controlled and intentional about it”Electronic producer Isaac Baden-Powell, AKA Waz-u, has become acutely attuned to spinning many plates. As well as the release of his latest album, Preludes: Duck Psalms, Baden-Powell also runs a studio alongside his brother and fellow producer, Mali Baden-Powell, and is the drummer for alternative soul project Monzanto Sound and experimental punk project Nexus_0.

READ MORE: Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album?

The artist has a distinct knack for intertwining funk-fuelled beats with his love of classical composition techniques. He has described his work as a fusion of religion and dance music, making audiences equally pensive, emotive, and excited on the dance floor.
Waz-u sits down with MusicTech to unpack his workflows as a producer without using a computer, and his love of analogue synths and instruments that inspire his work.
Preludes: Dusk Psalms by Waz-u
Your second album, Preludes: Dusk Psalms, is out this month — what lessons did you learn from your debut that carried into this record?
I learnt a lot from my last record. Artistically, I felt a lack of focus and have tried to create a cohesive world with Preludes: Dusk Psalms. It’s easy to try to show the listener your taste and influences in a record, but all the albums that stand the test of time do so because that record has a consistent stylistic aesthetic.
I also learnt that relying too heavily on record labels is not a good thing for the artistic process. [My debut album], Prayer for Dawn was originally going to be released by another label but was dropped last minute for undisclosed reasons; as a result, I have tried to take a more active role in releases to make sure things are done professionally. It was a lot of work, but I’m happy with how my first record’s campaign went, and it’s given me more confidence to release music that I believe in.
You have lots of different creative projects on the go, such as Monzanto Sound and Nexus-0. How do your creative approaches differ in your solo work?
With those two projects, I work primarily as a drummer and secondarily as a producer. The music is heavily focused on live instrumentation, and what I can add to them is more about songwriting and feel. Production-wise, I oversee mixes and tweak musical ideas to get the most out of them, but I mainly try to take more of a backseat role.
In my Waz-u project, the sonic palette is electronic, and the drum parts (if there are any) are all programmed. It’s a way for me to explore composition differently and think more about atmosphere than in my other projects.
Photo: Mali Baden-Powell
Your musical identity is very varied, with classical, reggae and funk roots. How do you work to combine all of this into your releases? Is it easier said than done?
I treat influences like flavours for a chef: you need to use the right ones at the right times, and if you want to do something unexpected, be controlled and intentional about it. This record has no drums on it, as it has an ambient aesthetic, so the reggae and funk influences are sparse if at all; but the process and workflow of using an analogue desk for mixing and ‘dubbing out’ tracks live with send effects is something that the greats such as King Tubby and Lee Scratch Perry pioneered.
The classical influence is much more present throughout, and I actually had to turn down the intensity of that influence: a lot of the initial demo versions of the tracks were unnecessarily harmonically complex and, as a result, felt twee and excessive. I’ve tried to retain the taste but still keep the music palatable. You can clearly hear The Word is influenced by the baroque progressions of J.S. Bach. and G9 LUVs bowed textures mimic classical string parts and harmonies throughout the record.
Tell us a bit about your studio.
My studio, Biodiversity Studio, is based in Greenwich in South-East London. My brother Mali and I run the space, and he designed it in a way to optimise workflow and sound quality. We also have an in-house mastering engineer, Alex Batchelor, who worked on this album: he has a private studio now with different acoustics but formerly worked in this space and has strong ties to the Biodiversity studio as the Soundcraft console was originally his.
The concept is to have a space capable of creating diverse genres of music. Having a drum kit and a piano as well as a large selection of outboard and synthesizers allows this space to be a source of limitless creativity. Collaborating with other artists is part of our bread and butter, and this studio has been used to record anything from neo-soul to dub techno. On Fridays, we invite artists or producers to come in and collaborate on a tune as a fun way to connect and make something different and exciting.
Waz-u’s effect rack. Photo: Mali Baden-Powell
What’s your latest gear purchase?
My latest purchase was a Boss BX-80 mixer, which has been modded to have direct outputs. It has some of the best natural drive and distortion of any gear that I have encountered and is perfect for summing drums to get beautiful saturation that simply can’t be achieved in the box. I had to pay a little bit of money to get the direct outs as a mod but it allows a degree of flexibility which is necessary in what is quite a complex routing set up.
What’s the best free plugin you own?
UAD LA-2A compressor. This is on the bass on almost every single track, as well as being a key part of my vocal mixing chain.
What’s been the biggest investment in your career/studio?
The biggest investment in my studio was on monitoring. Our main monitors are a pair of Gethain RL906 with an Eve audio subwoofer. The transient detail and upper midrange ‘air’ is unparalleled for monitoring of that price bracket. We also put a lot of funds into proper acoustic treatment; Mali made a bunch of custom baffles and as a result producers always compliment the ‘sound’ of the studio. My advice to younger producers is to invest in good monitors and acoustic treatment. This is because you can’t make music sound good until you can really hear what is going on! In a better sounding room you can find your sound without guesswork and make informed mixing decisions.
Your music is very synth-heavy — do you prefer the versatility of digital synths or are you more of an analogue synth purist?
I don’t use plugin synthesizers at all because I find the immediacy and tactility an essential part of the creative process when composing electronic music. In terms of synths, I’m a sucker for the sonic imprecision and ‘vibe’ of analogue synths. I also find the workflow of being forced to commit to audio from the get-go very refreshing, and it helps me to focus more on the composition and overall mix and less worried about endlessly tweaking something in the box.
Photo: Mali Baden-Powell
You’ve said previously that your music is written and mixed with little to no use of computers. How does that impact your work?
I make electronic music, but my background is playing instruments. I find that the piano allows me to tap into the emotive quality instantly — almost all of the tracks were initially written on a piano before being transcribed onto synthesizers. I feel like if something melodic doesn’t work on the piano, then it probably won’t work on a synthesizer. As a result of this, I like the feeling of performing an instrument, albeit a synthesizer, and ‘playing in’ the sound of something.
When it comes to mixes, I enjoy having the same approach: using an analogue desk. I use a Soundcraft Delta 32, and I enjoy being able to tweak everything instantly in real time. I generally record stems onto the computer and then run everything out through the desk via our Motu 828Es. In this way, I’m treating the computer like a tape machine was used back in the day.
Photo: Mali Baden-Powell
What’s a music production myth you think needs debunking?
The idea that spending more time on a track makes it better is a complete myth and something that I believe to be categorically false. If you never finish tracks, you never learn how to finish something and often, your initial idea was the best.
I think the only way to get better at making tracks is by finishing lots of them, and the easiest way to do this is to work quickly. Generall,y working slowly shows a lack of confidence in the idea and an excessive attachment to that particular track. My philosophy is: it’s not that deep, it’s just track. If it’s bad, make a new one tomorrow. Then, when you have lots of tracks, go back and dig through them, and there will definitely be some good ones in there.
Who gave you the biggest lesson in your career?
The biggest lesson is to just turn up. I remember someone telling me this years ago when I lived in Glasgow and it has always stuck with me. As an artist, it can be hard to keep doing the thing that you believe in, as no one else but you can make you do it. Just being present can allow you to achieve the things that you need to.
Read more Studio Files interviews on MusicTech. 
The post Waz-u: “If you want to do something unexpected, be controlled and intentional about it” appeared first on MusicTech.

“Yes, it’s scary. Your job might get taken away, but work with it”: Charlie Deakin Davies explains why artists need to adapt to AI technologyLike it or not, AI is here in music, and it’s changing things fast. And while many musicians and industry figures are strongly opposed to the greater presence of artificial intelligence in all stages of music creation and distribution, others are more accepting, and say artists should simply adapt to the changing times.
In a new conversation on MusicTech’s My Forever Studio podcast – which sees producers and musicians choose items to go in their fantasy forever studio – production prodigy Charlie Deakin Davies says the music industry is ever-changing, so artists should expect it to continue doing so.

READ MORE: My Forever Studio: Charlie Deakin Davies’ perfect vocal chain is attainable

“This is one of my special interests,” they say. “Even just the music industry as a whole, like even one of the biggest changes that happened with Universal and the massive mergers last year, the knock on effect has been absolutely massive, actually in the production and the artist world. [And] because I’m a signed artist to Sony, I am seeing it from that side.”
They go on: “But I’m also an active producer [and] writer as well, and an MD. So I feel like I’ve got a bird’s eye view on what’s happening in the major label industry at the moment. I don’t think it’s scary. I think some people are scared. But because I like music industry history, I’m like, don’t worry!
“This is just, just the analog to digital transition. This is just the record to tape transition. Like, don’t worry. Like, we’re just having one of those.”
Davies says, however, that it’s “scary for some people, because they don’t know whether they’re going to be on the chopping block of these changes”.
Specifically with respect to whether producers and artists should see AI as a threat, Davies goes on: “I’m not saying it’s an unfounded fear. Change is about to happen and change is happening. Change always happens.
“And when you choose to work in an industry that is on the front line of innovation, of technology and media consumption and social culture… I think it’s the highest changing technology and cultural thing that there is. So I think people need to go in eyes wide open if they’ve chosen that career.
“Yeah, it’s scary. Your job might get taken away, but like, work with it. Like, can you use AI? Can you do this stuff? I don’t know. You’ll have me on the podcast in like 10 years and I’ll be like, ‘I’m homeless!’”
Watch the full episode below:

The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
The post “Yes, it’s scary. Your job might get taken away, but work with it”: Charlie Deakin Davies explains why artists need to adapt to AI technology appeared first on MusicTech.

Has music hit peak fandom? [MIDiA’s Mark Mulligan]"(You) cannot harvest fandom if you are not also nurturing it," writes MIDiA's Mark Mulligan. Superfans are seen as music's financial lifeline, but 2024 showed signs they’re being stretched to the limit. Have we hit peak fandom?
The post Has music hit peak fandom? [MIDiA’s Mark Mulligan] appeared first on Hypebot.

These new plugins from MQA Labs give you in-depth control over “critical details” in your recordingsMQA Labs has launched two new plugins to give producers “unprecedented control” over the “critical details” in their recordings.
The new plugins – named Inspira and Endura – both offer a different set of tools which each address different challenges in digital audio. They were previously teased during NAMM back in January under different names (simply called Input and Output plugins).

READ MORE: The Magnolia might be the most alluring synth launched at this year’s Superbooth

Inpsira is designed for mixing and recording, while Endura is built for mastering. According to MQA Labs, Inspira and Endura both employ “previously unavailable methods” not used in other plugins, and tackle a sense of “flatness” that can come across in digital recordings.
By using Inspira, you can mitigate unwanted time-domain distortions that often occur during analogue-to-digital conversion. It offers two core functions: a clarity control and a section for noise shaping and dithering.
For noise shaping, the UI shows a real-time rendering of the noise floor of the recording. You can then select from several predetermined shapes, while the Depth knob will shift the shaped noise up and down to achieve the maximum resolution.
As for Endura, this plugin is intended for use on the Output Bus to enhance an entire mix. It gives engineers full control over temporal smearing, and hosts “advanced analysis capabilities” to generate unique noise shapers suited to each track.
It offers Align and Depth functions that work together, and a ‘Learn’ mode where the noise floor is analysed to create a noise shaper customised to the recording. Following the analysis, it will return with its optimised suggestions for both Align and Depth, and will allow users to compare its custom suggestions to the standard shapers.
Endura also exports in WAV and FLAC formats, ensuring that “the best-sounding masters reach any streaming service with absolute fidelity”.
Spencer Chrislu, Director of Content Services at MQA Labs, states: “These tools offer engineers a new level of creative freedom, enabling them to dial into the detail of their sound. Whether they want to refine subtle nuances or make significant enhancements, creators can now deliver their music exactly as they envisioned, unlocking possibilities previously out of reach.”
Inspira ($249) and Endura ($349) are available now. You can head over to MQA Labs to find out more. 
The post These new plugins from MQA Labs give you in-depth control over “critical details” in your recordings appeared first on MusicTech.

Ableton Live 12 is now 25% off — but not for longFor a limited time, you can save up to 25 per cent off Ableton Live 12 Standard and Suite purchases, including upgrades, at Sweetwater and Thomann. That equals a saving of up to $225, so now is probably the best time to download the DAW if you’ve been holding out.
Deals on Ableton Live don’t come around often, with the last one happening over Black Friday and Cyber Monday 2024. This flash deal isn’t hanging about long, either — you’ve only got until 19 May 2025 to get your hands on it.
In cash terms, the deal means that new users to Live 12 can pick up Live 12 Suite for $525 (saving you $225) and Live 12 Standard for $373 (saving you $66). Meanwhile, owners of Ableton Live Lite, Intro, Standard and Suite versions 7 through to 11 can make some killer savings on upgrade prices, too.
[deals ids=”tYq1v1oPx2sDx1GQTk9DK”]
Ableton Live 12 is currently one of the most popular DAWs on the planet, used by myriad producers in electronic, hip-hop, pop and alternative music.
We scored Ableton Live 12 a 9/10 in our review in 2024, praising its new MIDI editing and MIDI generation tools, powerful browsing features and calling it “the best clip-based DAW around.”
But which version should you get?
Credit: Ableton
Well, Ableton Live 12 Standard edition has 13 instruments, 16 sound packs and 42 effects, and the full-fat Suite version provides 20 instruments, 33 sound packs and 58 audio effects. If you’re looking for a vast sound palette, Suite will be tremendous value for you; if you’ve already got a ton of third-party plugins and a big sound library, you can probably save a few bucks and go for Standard.
In our review, we added: “Ableton has pulled off the trick of keeping Live fun and accessible on the surface while providing a great depth of tweakability (much more so now than in the earlier years) and including heavyweight extras like the Max For Live design environment with the Suite edition,” we said in the review.
“Many users will find that the Standard edition suits their needs perfectly well, since the main thing you gain with the pricier Suite is more instruments and effects – otherwise the functionality is essentially the same.”
Check out the deal at Thomann and Sweetwater.
 
The post Ableton Live 12 is now 25% off — but not for long appeared first on MusicTech.