Live Nation acquires Paris La Défense Arena, Europe’s largest indoor venueVenue has a capacity of 45,000 when configured for concerts
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9 Non-Generative AI Tools Artists Can Use to Get More S#*t Done in 2026A list of our favorite AI tools musicians are using right now to be more productive, more creative, and more prolific, without having to worry about abandoning your authenticity.
The post 9 Non-Generative AI Tools Artists Can Use to Get More S#*t Done in 2026 appeared first on Hypebot.

Billy Joel Joins Billy Joel Tribute Act on Stage for Two Songs in Florida The singer-songwriter took to the stage in Wellington, Florida, on January 2, to join the Billy Joel tribute band Turnstiles and appear on stage for the first time since his brain disorder diagnosis last year.
The post Billy Joel Joins Billy Joel Tribute Act on Stage for Two Songs in Florida  appeared first on Hypebot.

You can now generate automatic realistic footsteps and cloth Foley for your video clipsKrotos – the Edinburgh-based company specialising in sound design software and effects libraries for film, TV and video games – has expanded its Video to Sound platform, now enabling users to add automatic footsteps and cloth Foley to video clips.
Using AI-assisted visual analysis to interpret movement, pacing and scene context, Krotos is able to place realistic-sounding footsteps and cloth sounds in sync with a video clip – whether it’s a 10-second social media short or 10-minute film. And creative control is preserved; the resultant audio can then be refined in a DAW or NLE.

READ MORE: Fender forays into consumer audio with two Bluetooth speakers and a set of wireless over-ear headphones

Named after pioneer Jack Foley, Foley refers to the art of adding everyday sound effects – like footsteps or clothes rustling, for example – to visual media like films, TV, or video games in order to enhance realism.
It has long entailed painstaking manual work, from recording each necessary sound and lining it up with a video, to making constant timing adjustments as video edits change. But Krotos seeks to offer a massive workflow and time-saving improvement with the addition of automatic footsteps and cloth Foley to its platform.
When applying footsteps to a video clip, users can select an appropriate walking surface – like tile, gravel or wood – and Krotos applies “professionally recorded footstep sounds that match the pacing and action of the scene”. These footsteps can subsequently be exported as MIDI in order to refine timing within Krotos Studio or any other DAW.
Credit: Krotos
The system works the same way in analysing video clips for cloth Foley; it interprets motion and changes in movement, adding context-aware cloth sounds “that reflect subtle shifts, turns, and layered action in a single pass”.
In terms of availability, automatic footsteps and cloth Foley – part of the expanded Video to Sound platform – is available as part of Krotos Studio. Subscribers across all tiers of Krotos Studio have access to the feature, while Krotos Studio Max users can upload videos up to 10 minutes in length, and process up to 200 videos per month.
Krotos also makes the point that user-uploaded videos “are not used for AI training purposes”. 
We spoke to Krotos last year, when the company stressed the importance that “creative control remains firmly in the hands of the user”.
“When we say our AI engines are ‘non-generative’, we mean they are not creating entirely new sounds from scratch. Instead, they are designed to assist sound designers by processing and enhancing existing high quality audio assets that have been recorded by professionals,” Krotos told MusicTech.
“…The quality of the sound is always high unlike the results of the existing generative models. Our commitment to ethics is reflected in how we train our AI. We exclusively use professionally recorded assets that we own or have full rights to… The goal is to empower users, not replace them.”
Learn more about Video to Sound and Krotos Studio at Krotos.
The post You can now generate automatic realistic footsteps and cloth Foley for your video clips appeared first on MusicTech.

Audeze announce the Maxwell 2 The successor to Audeze's debut gaming headset promises to deliver even better audio performance along with some handy new features. 

Cubase 15, as reviewed by a Logic Pro user: “The most versatile DAW I’ve ever used”Pro: £481 / €579 / $579
Artist: £273 / €329 / $329
Elements: £83 / €99 / $99
steinberg.net
As someone with an interest in film and game composing, it’s odd that I’ve managed to dodge Cubase for this long. Over its 36-year history, it’s become the DAW of choice for big name screen composers like Hans Zimmer and Jack Wall. Not only that, but over time, this venerable digital audio workstation has accrued an expansive feature set that extends its utility into pretty much every corner of music production.

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

In truth, the reason I haven’t tried it is simple – I’m kinda lazy. When I need a do-everything DAW, Logic Pro has long been my easy option. Sure, it tends to pre-empt, simplify, and streamline even when I don’t want it to, and, yes, it keeps me locked on overpriced hardware. But it does, for the most part, just work.
So it would take something quite special to pry me out of my comfort zone and force me to learn a new workflow, or, god forbid, a new set of hotkeys. Let’s see if Cubase 15 Pro has what it takes.
MIDI editing in Cubase 15. Image: Press
First impressions
The first thing I do is get a feel for how Cubase handles MIDI production, and I’m quickly impressed. There are all the editing capabilities I might wish for, and, in a nice surprise, there’s also probabilistic functions for gating notes and randomising velocity ranges. Best of all, these sit right up front alongside more standard-issue parameters in the MIDI editor window; a clear sign that Cubase is a creative space and not just a studio workhorse.
In terms of library content, the selection of stock sample instruments, synths, and loops is generally excellent, with the Padshop 2 and Retrologue synthesisers comparing well to what Logic Pro has on offer.
For a truly trippy experience, I open up Yamaha’s new Omnivox instrument, which lets you pair MIDI notes with text input to produce an eerily accurate human singer. The fact that this vocal simulacra is achieved through synthesis, a trick Yamaha has been perfecting for quite some time, makes it all the more impressive. However, once you get past the initial novelty, the utility, at least in the current beta version, is fairly limited. It’s certainly not going to fool anyone as a lead vocalist, and I’d assume that most users will probably keep it for the occasional backing vocal.
The Drum Track sequencer – introduced in Cubase 14 and now expanded with a melodic mode – is a joy to use. There are lots of generative goodies for adding patterns, note ties, jumps, and repeats, and also some one-click editing options for adding legato or changing a sequence’s resolution or length. Another highlight for me is the dedicated Chord Pad editor window, which functions as a chord trigger/arpeggiator and offers extensive options for scales, voicing, and note overlaps.
Stock instruments in Cubase 15. Image: Press
Recording
Where Cubase really starts to pull ahead is in its MIDI scoring capabilities. New in version 15 is an overhauled score editor and tighter integration with Steinberg’s dedicated notation software, Dorico. It certainly feels a lot slicker than Logic Pro’s score editor, does a better job of translating a real-time MIDI performance into notation that a performer could actually read, and offers the ability to export your score from Cubase directly into Dorico for further development.
Another strength is Cubase 15’s Expression Maps. Controlling articulations in large orchestral libraries can quickly get frustratingly complex — it’s still complex in Cubase, but Steinberg’s done an admirable job of streamlining this. You can import preset mappings from third-party libraries – I load EastWest’s Hollywood Strings 2 with zero issues – and then fine-tune things to your heart’s content. New in version 15 is the ability to set a delay compensation for each articulation independently, enabling you to nudge rhythmic ostinatos back into line if they’re lagging the click. It’s a seemingly small feature, but definitely a welcome one for anyone who works professionally with MIDI orchestration.
Audio recording, editing, and mixing are all top-notch, with workflows that can cover small bedroom production, professional studio tracking with outboard gear, all the way up to large-scale acoustic sessions. In fact, Cubase’s audio bona fides are so solid that there isn’t much point in discussing them in further detail — you’re in safe hands.
The newly included Stem Separation works fine for unpicking vocals from a track, but falls short of third-party options like Moises AI. This feature doesn’t hold my attention for long.
Far more fun are the 11 Bitwig-inspired Modulators, and include options like Wavefold LFO and Sample & Hold. There’s also a Mod Scripter for those with the requisite JavaScript skills. I absolutely loved the creative potential of Modulators in my Bitwig review, and while Cubase’s implementation is far less extensive, it’s still a fantastic addition — and something totally absent from Logic Pro.
The capabilities of this DAW are vast, and there’s so much great stuff here that I genuinely struggle to decide which parts I should highlight — I haven’t even touched on how it handles video, its audio warping or pitch correction tools, or its highly customisable user interface, which had me spending way too much time designing my own custom colour scheme and tweaking the global UI scaling to maximise my laptop screen real estate.
However, the sheer breadth and depth of Cubase can be overwhelming at first blush. My first few hours feel like I am back at music school, and I need to consult manuals and tutorials more often than I have for any recent software I’ve tried.
Expression mapping in Cubase 15. Image: Press
A real Pro product
In my humble opinion, this is really not a beginner DAW. Cubase is for those who have already dipped their toes in shallower waters and are ready to dive into a professional grade workstation. Cubase bills itself as an ‘advanced audio workstation’ and the question you need to ask yourself is whether you are an ‘advanced’ user, or are willing to put in the time to become one. If not, then there are more accessible and cheaper options.
Speaking of cheap, Cubase really isn’t. At £481 for the Pro version, it’s more expensive than most DAWs, though more affordable than Pro Tools or Ableton Live Suite. The Artist tier comes in at £200 less, and this will probably fit the needs of most users as it offers almost all the features of the Pro tier – but you do miss out on the nifty Modulators. As always, Logic Pro wins handily on price, but only if you don’t factor in the steep Apple hardware premium.
With those caveats, Cubase fully earns its all-rounder stripes. For your investment, you’ll get audio capabilities not far short of Pro Tools, stock instruments and plugins that compare well with Logic Pro, some of the creative craziness of Bitwig, and a MIDI production environment that just might be the best in the business.
Omnivocal in Cubase 15. Image: Press
Am I leaving Logic Pro for Cubase?
This is the most versatile DAW I’ve ever used, and it’s also one of the most powerful. No matter where I look in Cubase, I’m continually surprised at just how deep I can go. Its design and workflow considers the needs of power users at every turn – something that I simply can’t say of Logic Pro, which always feels like it prioritises newcomers to the detriment of dab hands.
Many hours in and I do feel like I’m still learning the ropes, but Cubase makes me want to keep going. And once I do master this epic DAW, I have a feeling I won’t be going back to Logic Pro.

Key features

Fully-featured MIDI production environment with generative capabilities
Drum Track sequencer with new Melodic Mode
11 Modulators and scripting functionality
Comprehensive audio recording, editing, and mixing
VariAudio pitch correction
Scalable interface with many options to customise layout
Up to 96 included audio effects
50+ GB library of samples and loops
Export integration with Dorico notation software

The post Cubase 15, as reviewed by a Logic Pro user: “The most versatile DAW I’ve ever used” appeared first on MusicTech.

Tilr releases QDelay, a FREE feature-packed dual-delay plugin
Tilr, one of the most productive and impressive free plugin developers in 2025, is making a strong start to the new year with the release of QDelay, a free feature-packed dual-delay plugin for macOS, Windows, and Linux. We’re only just into 2026, and Tilr is back with another free plugin that looks set to overdeliver [...]
View post: Tilr releases QDelay, a FREE feature-packed dual-delay plugin

“I feel like I only just started making beats”: Hit-Boy is free and pushing himself to the limitIt’s 10:08 am in Los Angeles, and Hit-Boy is late to our interview — but for good reason. He’s been in the studio for three hours putting the finishing touches on his 2026 solo album, Software Update, which has already been in several years of development. “After today, it’ll be done, for sure,” he promises over video call.
Hit-Boy’s enthusiasm is palpable as he recounts his morning so far and explains the premise of Software Update: levelling up and creating on his own terms.
Hit-Boy on the MusicTech Cover. Image: Bradley Meinz for MusicTech
“Working with a free mind is completely different from working from a place of like, ‘Fuck, have I really made it yet? Am I going back to poverty? Am I gonna go back to standing in welfare lines trying to get free fucking milk and cheese?’” he explains. “Now, I’m excited to be able to work on straight art.”
It might seem strange to hear the three-time Grammy-winning artist talk about being in poverty. He is, after all, the producer behind Diamond-selling records such as Ni**as In Paris by Jay-Z and Kanye West and Sicko Mode by Travis Scott. But the past 18 years of his career were blighted by a brutal publishing deal he signed with Universal Music Group as an emerging producer.
Hit-Boy inked his deal in 2007, accepting a cash advance of $50,000, which, he says, was a lot of money to 19-year-old Chauncey Hollis Jr.. The terms of the deal, however, were archaic in a fast-moving age of music listening technology. His royalties, for example, were collected only from CD sales, not digital streams. It was only in 2011, when Ni**as in Paris became an explosive hit in the new online era, that Hit-Boy realised just how stifling the agreement was. He’s since described the agreement as a “prison deal”, and reveals that it pressured him to try and produce hits even bigger than Ni**as in Paris — not such an easy feat, given its immense cultural impact.
“I’m always thinking about how to make shit better… I’m not just settling”
Last year, the Californian producer was officially freed from the contract, with Jay-Z, his entertainment company Roc Nation, and Desiree Perez all playing a crucial role in helping him out of it. “It is kind of crazy that I gave Jay-Z his first diamond record, and he helped get me out of my slave deal. That’s a beautiful exchange,” Hit-Boy told Stereogum.
But Hit-Boy still has some mental barriers to overcome. “I’ve been doing therapy every week,” he shares, adding that music-making serves as an antidote to any pessimism in his career. “[When] I make music and feel myself getting better [at it], that shit feels better than money; a new idea, new creativity — that’s better than a million dollars in my account. I’m just taking advantage of this energy.”
Software Update is just one result of Hit-Boy’s renewed motivation from leaving the publishing deal and setting up his new home studio in Beverly Hills. “This shit has become a way of life,” he says. “Every day, I’m going into my studio as soon as I wake up, and just digging in. ‘How can I dig deeper and just make my shit better?’ That’s all I’m on. And that trickles down to every other part of my life; I’m back working out again, trying to eat better, cutting out certain shit, cutting out certain people. I gotta move right.”
Image: Bradley Meinz for MusicTech
And how else has Hit-Boy celebrated his freedom? “I threw a crazy party,” he says. But even that in service of his art. While the party was unfolding, he recorded a music video for Start Dissin’ with Spank Nitti James, BabyTron and AZ Chike. “I always make shit make sense,” Hit-Boy continues. “It’s all one thing to me. It’s just music. It’s art.”
Besides Software Update, Hit-Boy has been focusing on two other albums: Yeast Talkin’ with Californian rapper Spank Nitti James, and Goldfish with fellow producer legend The Alchemist. Both records, out now, see him move seamlessly between beatmaker and rapper, with candid lyricism and production that flows from classic boom-bap into heavier, trappier sounds. Both collaborators, though from different sides of hip-hop, share one thing with Hit-Boy: “They never been on no industry shit with me. They never been thirsty to be seen. None of that. They both always deliver,” he says.
Software Update was scheduled to arrive before the two collab albums, but working with The Alchemist and Spank Nitti galvanised Hit-Boy. Goldfish arrived with an entire movie, starring Hit-Boy and The Alchemist alongside Rory Culkin, Blake Anderson, Sarah McDaniel and a slew of other actors and friends. Yeast Talkin’, meanwhile, was a seamless flow of consciousness from Hit-Boy and Spank Nitti with no pressurising deadlines in sight. “That’s just where I was at in life,” Hit-Boy says. “Feeling my freedom, feeling myself, just getting it off. The energy just called for us to just drop the joints. I just go off the organic energy, what’s happening in my real life and how I really feel.”
Image: Bradley Meinz for MusicTech
That largely captures Hit-Boy’s workflow: He avoids putting any pressure on studio sessions, forcing creativity on specific days, or imposing any kind of routine. He’ll share ideas and progress online with his collaborators, and pull up to the studio when the feeling is right for both of them. “There’s no best way, it’s all whatever makes sense. Whenever we get time to make something happen, we just figure it out.”
The producer has worked with icons such as Beyoncé, Drake and Nas, but the creative relationships that matter most to Hit-Boy right now are more down-to-earth. When asked what makes his connection with his recent collaborators so special, Hit-Boy’s answer is straightforward: “Just being a real homie.”
“The Alchemist has always been solid with me, giving me advice, giving me techniques I could use, all type of shit…He’s just a cool dude. I’ve been thinking — it’s crazy — I got Diamond records with certain artists, got Grammys with people that won’t even text me back. If we got a Diamond record and Grammys and shit, why the fuck we not working more? Why can’t I reach you? That shit is weird. I just feel like I got real ones, and Alch has always been solid with me. I don’t want to work with nobody who I can’t get in touch with.”
“Everything in my real life, I just use it as fuel”
Though he’s revered for his collaborative work, Hit-Boy aims to make a statement of independence and self-reliance with Software Update. “You’re not gonna see 10 producers on every beat on my album,” he says. “I’m really doing the music; I’m writing my lyrics, making all the beats.”
The dedication to perfecting this album runs deep. Hit-Boy’s not just churning out hundreds of beats and picking 12 that work together, but is locking down an idea and refining it relentlessly until it meets his standard. This meticulous habit was inspired by a Kanye West documentary that he saw, in which West says that he’ll work on tracks until they’re perfect. For Hit-Boy, that can mean playing back tracks endlessly, to the frustration of others who are in the studio with him — but that continues until he no longer feels his “critical ear” is in the studio, too.
“I’ll be up at 1 am sometimes playing mixes and being like, ‘Okay, I can fix this. I can make this better,’” Hit-Boy says. “I’m always thinking about how to make shit better, especially with this Software Update mindset. I’m not just settling. I’m pushing myself to the fucking limits.”
Image: Bradley Meinz for MusicTech
Part of his new ‘levelling up’ mindset has involved a shift in his studio setup. Hit-Boy splits his creative time between his Beverly Hills home setup and his studio in North Hollywood; neither is jam-packed with gear, the producer preferring a minimal setup with his essential tools. “As long as I have Pro Tools and FL Studio, everything else will get figured out,” he says, adding that a trusty pair of KRK monitors are crucial to his home setup.
Producers reading this may remember Hit-Boy’s appearance in a ubiquitous 2019 commercial for Output’s Arcade plugin in which he famously claimed: “If I had this when I was maybe 20, I’d probably be a billionaire by now.” He laughs when we mention it today, but doubles down on the power of plugins and programming. Recently, he’s started experimenting with AI–powered plugins, too, including a voice changer, which can be heard on the album.
“I’m literally dialling in my exact melodies, my exact words, and just changing the voice,” he says. “That’s been fun. I changed my voice to a female voice a couple of times on the album, and people have been like, ‘Yo, who is that girl singing?’ That’s me! I just utilise it as an instrument.”
Image: Bradley Meinz for MusicTech
The laptop-driven Beverly Hills setup also lets Hit-Boy balance production with fatherhood: he can drop his five-year-old son off at school and be back making beats by 8:30 am. The school run is rarely soundtracked by Hit-Boy music, however — it’s mostly K-Pop Demon Hunters and Henry Danger.
“What do I gotta do to make him want to get in the car and play my music?!” says Hit-Boy, laughing in mock exasperation. “But he’s everything. He’s pushing me every day. I played the whole album, and it got to a song I hadn’t played in a while, but he remembered. He was like, ‘Oh, you haven’t played this song in a while; I still like it.’”
One thing that comes up frequently in our conversation is just how much inspiration Hit-Boy finds in everyday life. Despite an upbringing marked by struggle, with his father, Big Hit, serving multiple sentences in prison as Hit-Boy grew up, and with the 18-year publishing deal always looming, Hit-Boy has still kept optimistic.
“I get inspired by every single thing in life, bro. My crib in Beverly Hills is surrounded by greenery and palm trees, and crazy scenery in the middle of the mountains. So even being in my studio, it’s just a different perspective. I’m enjoying just listening back to my verses in the headphones, looking at the trees — that shit is inspiring. My son is inspiring to me. Everything in my real life, I just use it as fuel.”
“I just go off the organic energy, what’s happening in my real life and how I really feel”
With Software Update dropping in early 2026, Hit-Boy’s sights are set firmly on “greatness”, he says. What does that look like in practice? “The whole Billboard Top 10 produced by Hit-Boy… One day I feel like that shit could happen, man.”
He looks to the late Quincy Jones as an icon for greatness in music production, citing his untiring commitment to the craft up until his death at age 90.
“I’m just going til I can’t think of shit anymore. I don’t know how that’s gonna happen; I get inspired every day. I feel like I only just started making beats.”
And at 38 years old, Hit-Boy isn’t late at all. He has all the time in the world — and he plans to use it well.
Hit-Boy’s Software Update is on the way
Words: Sam Willings
Photography: Bradley Meinz
The post “I feel like I only just started making beats”: Hit-Boy is free and pushing himself to the limit appeared first on MusicTech.

The 2025 AllMusic Readers' PollOur 2025 year-end coverage ends with the top 10 albums of the year as voted on by the AllMusic community. Respondents from all around the world made their choices, and we're excited to share the top 10 results as voted by you, the AllMusic reader. Thanks again for reading and supporting AllMusic in 2025, and we look forward to bringing you more reviews and features in 2026.

CCC Webinar "Financing Fanfare: Music Catalog Investments and Sales”

According to ness on Monday, "Join the CCC on Tuesday, January 13th at 2:30pm PST for a webinar presentation entitled: FINANCING FANFARE: MUSIC CATALOG INVESTMENTS AND SALES."

"One of the hottest topics in the industry for a while now has been investments, financing, and purchases of recorded and written music. Every day a new article seems to pop up touting the sale of another big catalog. The numbers sound big and the financial jargon is intimidating, but it’s all within reach of understanding. Let’s clear through the smoke and mirrors and learn what really goes on in the process of selling a catalog and finding investors in your craft."

"Learn more from the experts! Register for this month's webinar presentation below."

REGISTER HERE

Moderator: Janelle Hawkes | Publishing Royalty Manager, beatBread (Pictured)

Panelists to date: Spencer LeBoff | SVP – Head of Publishing/Acquistions, Avex Music GroupMegan Pekar | Music Attorney, Loeb & Loeb LLP

Advance Registration:

CCC Members $0 per person | Non-members $5 per person– No refunds –The post CCC Webinar "Financing Fanfare: Music Catalog Investments and Sales” first appeared on Music Connection Magazine.

Autodafe Autodafe BitcrusherThe plugin features precise, musically tuned bit depth and sample rate reduction, designed to deliver everything from subtle digital grit to aggressive lo-fi textures, with a focused interface optimized for real-time control and musical results. Key features: Bit depth reduction with smooth, usable ranges. Sample rate reduction for classic digital aliasing effects. Dry/Wet mix for parallel processing. Lightweight DSP and modern interface. Formats: VST3 (Windows, macOS, Linux). Audio Unit (macOS). Standalone (macOS, Windows, Linux). Read More

Nvidia launches powerful new Rubin chip architectureNvidia CEO Jensen Huang officially launched the company’s new Rubin computing architecture, which he described as the state of the art in AI computing.

NFT Paris cancels conferences: ‘The market collapse hit us hard‘The total NFT market capitalization dropped significantly in 2025, from about $9 billion in January 2025 to just over $2.7 billion in 2026.

Putting the M in a UNI-T MSO[Kerry Wong] points out that the Uni-T MSO oscilloscopes have a logic analyzer built in — that’s the MSO, or Mixed Signal Oscilloscope, part — but you have to add the probes. He shows you how it works in a recent video below.
He’s looked at the scope’s analog capabilities before and was not unimpressed. The probes aren’t inexpensive, but they do unlock the mixed signal capabilities of the instrument.

Although simple logic analyzers are very affordable today, having the capability integrated with your scope has several advantages, including integrated triggering and the simple convenience of being able to switch measurement modes with no problem.
In many cases, being able to do things like decode UART signals without dragging out a laptop and firing up software is a nice feature. If all you’ve used are the super-cheap USB logic analyzers, you may find some of the features of a more serious instrument surprising.
Is it worth the extra expense? That depends on you and what you are doing. But if you ever wondered if it was worth splurging on digital probes for a UNI-T scope, [Kerry] can help you decide.
Not that simple logic analyzers aren’t useful, and they certainly cost less. Some of them will even work as a scope, too.

Idris Elba, Cynthia Erivo, Key Production’s Karen Emanuel and more amongst those recognized in UK New Year’s Honours listMax Richter and Ellie Goulding also awarded in latest New Year's Honours list
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