Confirmed: Thomas Coesfeld will continue to lead BMG in dual role alongside Chairman and CEO position at parent BertelsmannCoesfeld to succeed Thomas Rabe as head of Bertelsmann on January 1, 2027
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RT60 Songzap v3 now available  Thanks to RT60's new HFR technology, Songzap v3 can isolate and remove bleed in real time, resulting in clear recordings with no artefacts or spill.

Baby Audio discounts TAIP to $9.99 until December 8th
Baby Audio has slashed the price of its AI-powered tape plugin TAIP for Black Friday, bringing it down to just $9.99 (from the usual $99) until December 8th. TAIP isn’t a new release (it’s been around for four years – time flies!), but it remains one of Baby Audio’s most popular plugins, and I think [...]
View post: Baby Audio discounts TAIP to $9.99 until December 8th

Babyface’s LA studio – which has recorded Michael Jackson, Whitney Houston and Ariana Grande – is up for saleLegendary R&B producer Kenneth “Babyface” Edmonds is selling his Hollywood recording studio, where hundreds of Top 10 hits and Grammy-winning albums have been recorded.
The Studio A at Brandon’s Way recording facility – and accompanying upstairs residence – is located at 751 N Highland Ave, Los Angeles, CA 90038, and is currently listed for just shy of $7 million.
Spread over 4,641 square feet of commercial space on a 5,662 square-foot lot, the site boasts three studios, a lounge and social areas, as well as a living space with kitchen facilities, machine room, tech shop, and a second floor with a bathroom.

READ MORE: I broke up with Spotify — it was hard work with a huge payoff

The studio facility is sold with all its equipment: approximately $800,000 worth of “top-of-the-line” gear.
Under Babyface’s custodianship, the facility has seen a plethora of noteworthy albums and songs recorded there, including Whitney Houston’s My Love is Your Love, Michael Jackson’s Invincible, Janet Jackson’s Damita Jo, TLC’s Fanmail, Usher’s 8701 and Confessions, and Ariana Grande’s debut album Yours Truly.
Credit: Jeremy Spann
Other albums recorded at the premises include Luther Vandross’s self-titled album (2001), Jamie Foxx’s Unpredictable (2005), Barbara Streisand’s Partners (2014) and Backstreet Boys’ Black & Blue (2000), as well as singles by Mariah Carey and Phil Collins.
Babyface has also put out a number of albums recorded at the studio: Face2Face (2001), Grown & Sexy (2005), and Return of the Tender Lover (2015).
Credit: Jeremy Spann
All in, Studio A at Brandon’s Way has seen 125 Top 10 hits, 45 Number One R&B hits, 16 Number One pop hits, and 13 Grammy winners, including three consecutive Producer of the Year awards for Babyface between 1995 and 1997.
“It might be easier to list who hasn’t recorded at this musical epicenter as the A-list names read like a who’s who of musical icons,” writes Carolwood Estates, the Beverly Hills real estate brokerage in charge of the sale.
“The list is long, so make this your next creative enclave, 751 N Highland clearly holds an unmatched provenance in LA’s music scene.”
Credit: Jeremy Spann
MusicTech attended the Warner Chappell Music songwriting camp in Las Vegas back in September, during which Babyface shared some crucial lessons on music making.
“Some people walk in with their ego; they think they know exactly how it should be, and they try to control the room. And so nothing comes from it. When I walk into a room, I walk in as an equal,” he said – interesting words from a producer of such calibre.
Elsewhere, the producer spoke of the importance of moving on from your previous successes to allow space for new ones in the future.
“Don’t be so stuck on what you’ve done in the past,” he said. “There’s another life beyond what you’ve already done. So many times I’ve had different writers coming to me after [selling their catalogue], saying, ‘Okay, so what do I do now?’ Go write another hit! Dig in, figure it out. You figured it out once, before you can figure it out again.”
You can learn more about Studio A at Brandon’s Way, Babyface’s legendary recording studio, at Carolwood Estates.
The post Babyface’s LA studio – which has recorded Michael Jackson, Whitney Houston and Ariana Grande – is up for sale appeared first on MusicTech.

Get free muted electric guitar plucks for Splice INSTRUMENT
Download our free muted electric guitar preset for Splice INSTRUMENT—grab these presets during the drop window and they’re yours to keep forever.

Deezer’s 50,000 Daily AI Song Uploads — How Fraud Hides Behind InvisibilityNew data highlights the growing shadow that generative AI content is beginning to cast, how it's reshaping streaming, and why platforms are racing to keep fraud in check.
The post Deezer’s 50,000 Daily AI Song Uploads — How Fraud Hides Behind Invisibility appeared first on Hypebot.

Bitwig Studio 6 vs Ableton Live 12: which DAW should you choose?For a long time, Ableton’s clip-launching approach to music production was its unique selling point. That workflow has since been, uh, borrowed by numerous other DAWs (see Logic Pro’s Live Loops), but it’s Ableton’s close cousin, Bitwig Studio, that stands as its most compelling alternative.
When Ableton Live launched in 2001, it was geared towards techno producers who required a dedicated tool for live performance. Over time, it’s morphed into an impressive double barrel of fully-fledged production workstation and live performance powerhouse.
Bitwig, developed by ex-Ableton employees, arrived in 2014 with a clear mission: a more flexible, modular approach to music production. Unsurprisingly, it shares much of Live’s DNA, but has since carved out its own dedicated following — particularly those with a penchant for experimentation.

READ MORE : Bitwig Studio 6, as reviewed by a Logic Pro user: “Heaven for sound design”

With Live at Version 12 and Bitwig Studio 6 on the horizon, both DAWs are immensely capable, and that’s partly what makes choosing between them tricky. We’ve spent time in both. Here’s what we’ve learned, and what you need to know before diving in.
Bitwig 6. Image: Bitwig
Side by side: Bitwig and Ableton features compared
With all major DAWs now boasting broadly similar feature sets, music producers are spoilt for choice. When it comes to sheer functionality, it’s easier to list what’s different — here are the highlights for Ableton Live and Bitwig Studio.
Ableton Live 12 offers:

A clear and structured workflow, moving between Session (clip launching) and Arrangement (linear timeline) views.
Extensive audio effects and instruments, including some unique and experimental devices.
An enormous bundled library — 38+ GB in Standard and 71+ GB in Suite.
Max for Live, a visual programming environment for creating new interactive devices for use within Ableton.
The dedicated Ableton Push controller.
Stem separation (coming in Live 12.3).
Intelligent browser for selecting sounds.
A significantly larger community, which can be beneficial for troubleshooting or advice.
Support for VST2/3 and AU plugins.
Basic support for video content within Live.

Unique Bitwig Studio 6 features include:

A more flexible non-linear workflow and interface that’s highly customisable.
The Unified Modulation System lets you easily modulate nearly anything.
The Grid, an easy-to-use, modular system for creating your own instruments and effects.
A powerful built-in library of around 26 GB.
Strong hardware integration with extensive tools for outputting CV and MIDI.
The Bitwig Connect 4/12 interface with CV outs.
Plugin sandboxing for greater stability, with support for VST2/3 and CLAP plugins.
Linux support (Ableton Live only runs on macOS and Windows).

Ableton Live 12 MIDI Assign. Image: Press
Pricing breakdown: what do Bitwig Studio and Ableton Live cost?
With any gear purchase, price is often a factor in your decision — so what’s the cost of entry for Ableton and Bitwig?
Each DAW comes in three loosely comparable editions. Bitwig Studio is slightly cheaper on the whole, ranging from $99 up to $399, and there’s no track limit in its cheapest tier, unlike Ableton Live (which imposes a 16-track limit for its Intro version). A license for Ableton Live ranges from $99 to $749. Both offer upgrade pricing so you can start at the lower end, as well as 30-day free trials.
Bitwig 6 GUI. Image: Bitwig
Ableton Live vs Bitwig Studio: full breakdown
Neither Ableton nor Bitwig are particularly cheap, and learning a DAW takes time. How does one make the crucial decision between the two? We have a few ideas.
Workflow and ease of use
At first glance, Ableton and Bitwig have a lot in common. They both offer a clip launcher for jamming and improvising, and a timeline for arranging — and flipping between the two is central to each DAW’s workflow — but beyond this, the two diverge significantly.
Live’s layout has changed very little since its arrival at the turn of the century, owing to a simple truth: it just works. The interface is tidy, the controls are predictable, and the flow from Session view sketch to dancefloor banger in Arrangement feels obvious and intuitive.
Bitwig also starts with this clip-to-timeline duality, but invites much more tinkering, with a stronger degree of customisation available than in Live. The interface may feel a little overwhelming at first — but you’re rewarded with fewer limitations once you’re done learning the rules, particularly thanks to its ‘modulate anything’ philosophy.

Bundled effects, instruments, and samples
Both Ableton and Bitwig ship with an impressive arsenal of factory content, so there’s no need to explore (or spend more money on) third-party plugins or sample libraries until you’re ready.
Live’s library is vast, with over 38 GB of sounds in Standard and over 71 GB in Suite. Software instruments include Operator (FM), Analog (subtractive), and Wavetable (we don’t need to explain that one!), among others, while samples span modular bleeps and classic drum machines to orchestral packs from Sonivox and Spitfire. Audio effects are varied, from standard utilities like EQ and compression to experimental sound-manglers like Roar, Corpus, and Beat Repeat.
Bitwig’s stock content is way more powerful than it first seems, although its bundled library is significantly smaller than Live’s. Nonetheless, it covers essential ground, with around 26 GB of synth loops, drum machines, and three orchestral packs. Its audio and MIDI effects are fantastic, but compared to Live, it features fewer virtual instrument ‘models’ — with a major caveat: you can build pretty much anything you desire using its modular Grid system. More on that next.

Extensibility: The Grid vs Max for Live
Extensibility is a major benefit of both Ableton Live and Bitwig, with both DAWs providing tools to craft your own effects, instruments, or entirely bespoke functionality.
The Grid is Bitwig Studio’s modular platform. It’s akin to Native Instruments’ Reaktor, offering a library of basic components — everything from delay lines to complex mathematical operations — that you connect to create something new. It’s slick and seamless, even for beginners.
Ableton’s near-equivalent is Max for Live, a powerful integration of Cycling ‘74’s visual programming language. It can be used to create all kinds of interactive software, and is particularly handy in multimedia setups. Like The Grid, it’s based around connecting objects, but is lower-level and comes with a steeper learning curve. On the plus side, there’s a large existing Max community, so if you need something custom, chances are someone’s already built it.
Max is ultimately an extension of Live that you can dip into as much or as little as you like, while The Grid is more central to the Bitwig experience. Both require the most expensive edition of their respective DAWs.
Bitwig Studio 6 Preset Modulation Curves. Image: Press
Modulation
Parameter modulation is where Bitwig steals the show. It’s part of the DAW’s fabric, with each channel device featuring three slots for various modulator types. Routing is largely frictionless, constantly encouraging movement and evolution within your projects.
Ableton offers some similar features, and Modulators were updated in Live 12. There are six available in Standard and Suite — compared to over 40 in Bitwig — but putting them to use involves a few extra steps, and they lag behind Bitwig Studio in terms of flexibility. This one’s a clear win for Bitwig, and is arguably its flagship feature.
Live 12 MIDI Note Probability. Image: Press
Live performance and hardware integration
Live’s performance pedigree is unmatched — no surprise given the DAW’s origins as a performance tool in the Berlin techno scene. Ableton’s native controller, Push, provides tight hands-on control of Live, but a vast number of third-party controllers are supported out of the box too.
Bitwig Studio’s hardware integration offers something rather different and is likely more suited to the studio than the stage. There’s no flagship controller akin to Push — yet — but the Bitwig Connect 4/12 interface with control voltage I/O lets you route the DAW’s powerful modulation system to Eurorack, analogue synths, and other gear.
Live 12’s CV Tools offer similar functionality, but Bitwig wins for flexibility and depth when it comes to more open-ended setups.
 
Mixing and mastering
How do both DAWs handle the later stages of production, and is it easy to get tracks finished and ready for release?
Live offers a reliable and familiar mixing environment with sends/returns, busses, and user-friendly automation lanes. Many producers carry full mixes through Live without needing to bounce to another DAW, and its stock effects are good enough for professional mixdowns and masters. Live copes well with large track counts too, and freeze/resample features help manage CPU.
Bitwig Studio fares similarly, with the version 6 update bringing several improvements to automation editing and navigation — so while it may not have been the immediate choice for mixing before, it’s certainly up to the task now. Given its modulation-centric approach, you may need to take a little extra care to avoid mix settings shifting unexpectedly.
Bitwig Studio 6 Automation Spread. Image: Press
Long-form editing and video support
Both Ableton and Bitwig perform well with large, sprawling sessions, though Live’s more structured approach might make life easier.
Neither DAW is specifically aimed at those scoring to picture, and both fall short for workflows heavy on video. Live 12 does support video import, timeline sync, and basic editing cues, but likely won’t meet the needs of professionals. Bitwig Studio 6 has no native video support, although it can be achieved via third-party plugins like VidPlayVST.

Stability
Nothing kills creativity like losing work, so which DAW wins here?
Live is renowned for its major version stability — there’s a reason it’s used in many professional playback and instrument rigs — provided you’re sticking with its stock devices. While bugs or crashes are rare, dodgy third-party plugins can derail things. But generally, Live does a strong job of recovering your session if it does crash.
Bitwig takes a different approach, ‘sandboxing’ third-party plugins, so even if they crash, the program itself doesn’t. Of course, the software’s propensity for pushing limits means you might run into glitches or quirks more often. Session recovery features are limited, so you’ll need to be more vigilant when it comes to saving.
Bitwig Studio 6 Audio Editor. Image: Press
Which DAW is right for me?
Deciding on a DAW ultimately comes down to the way you like to work. Ableton and Bitwig provide everything you need to make great records; you should think less about their spec lists and more about how you want to spend your studio time. Soul-searching aside, here’s our loose recommendation:
If you want a slightly more ‘traditional’ approach that’s faster to learn, stays out of your way, and delivers the kind of reliable predictability you’d expect from a 25-year-old DAW, try Ableton Live.
Ableton Live is your best bet if you want a slightly more traditional DAW and if the ecosystem of Push and Move is appealing to you. Performing live shows can feel a little more natural with Live, if that’s a priority.
If you fancy cutting your own path through modulating, patching, and experimenting, go for Bitwig. There is endless room for experimentation, so be ready to spend a little more time learning the ropes.
Remember, you can try both free for 30 days, so there’s plenty of time to get acquainted with each. And if neither feels quite right, don’t worry — our guide to the best DAWs has you covered, featuring popular alternatives like Logic Pro 11 and FL Studio 2025.
The post Bitwig Studio 6 vs Ableton Live 12: which DAW should you choose? appeared first on MusicTech.

Industry Perspectives: Gui Morais (Symphonic) on the Importance of Local Culture“Global success doesn’t start with a strategy. It starts with identity.”
The post Industry Perspectives: Gui Morais (Symphonic) on the Importance of Local Culture appeared first on Hypebot.

MP566-II module from Sound Skulptor Equipped with high-quality transformers and sporting a new high-pass filter, the MP566-II employs a dual-triode valve and draws its inspiration from a selection of classic 1960s designs.

Karanyi Sounds Cloudmax Breeze Black Edition is FREE this Black Friday
Karanyi Sounds has followed in the footsteps of developers like Waves and Air Music Tech by announcing a new plugin for this year’s Black Friday – the Cloudmax Breeze Black Edition. Like those other developers, Karanyi Sounds will drop the new plugin on Black Friday (November 28, 2025). After Black Friday, the plugin will move [...]
View post: Karanyi Sounds Cloudmax Breeze Black Edition is FREE this Black Friday

“We’ve pushed realism and usability even further”: Neumann’s RIME 1.5 update takes immersive audio monitoring on your headphones to new heightsNeumann has rolled out RIME 1.5, the latest version of its Reference Immersive Monitoring Environment plugin, tailor-made for its NDH headphone range.
Built to deliver a true “reference-quality immersive monitoring experience”, RIME lets producers and engineers monitor Dolby Atmos mixes, stereo balances, and everything in between with the kind of detail you’d expect from a high-end control room.
Version 1.5 takes that realism even further, enhancing precision, responsiveness, and overall usability for a more natural and controlled mixing experience.

READ MORE: Reimagine your voice using AutoTune’s new “ethically trained” AI transformation plugin, Metamorph

So what’s new? For starters, RIME 1.5 now delivers extended low-end response for all non-sub speakers, improved transient accuracy, and 3DOF headtracking, letting you move naturally while maintaining a consistent sound image.
There’s also support for 5.1 and 7.1.2 formats, a wider ambience parameter range, and loudness-matched bypassing for more confident A/B comparisons. Add in quick solo/mute buttons, peak-aligned output, and a new standalone macOS version, and RIME is looking more powerful than ever.
Credit: Neumann
“As RIME is tailor-made for Neumann headphones, this perfect signal chain extends all the way to the user,” explains Jorma Marquardt, Product Manager at Neumann. “Our NDH 20 and NDH 30 headphones are manufactured to extremely tight tolerances. And of course, we know all their acoustic parameters. Using groundbreaking AMBEO algorithms, we are able to realise true immersion with unmatched sonic consistency and razor-sharp 3D localisation.”
Marquardt continues: “RIME is not a simulation. It captures an optimal control room in ultimate quality. With version 1.5, we’ve pushed realism and usability even further – making immersive monitoring more accessible and accurate than ever before.”
For those new to the plugin, RIME combines AMBEO’s virtual acoustics algorithms with Neumann’s KU 100 binaural microphone capture, creating an incredibly lifelike 3D soundscape. Whether you’re mixing in immersive audio formats like Dolby Atmos or simply checking stereo compatibility, RIME ensures your mix translates seamlessly across playback systems.
RIME 1.5 is available now via authorised retailers as well as on the Neumann Website for $99.95. Existing RIME users will receive the update free of charge.
The post “We’ve pushed realism and usability even further”: Neumann’s RIME 1.5 update takes immersive audio monitoring on your headphones to new heights appeared first on MusicTech.

Valhalla reverbs are some of the most revered in the business – after 8 years in development, FutureVerb delivers its “most transparent and realistic” yetValhalla DSP has returned from an eight-year deep dive into reverb design with its newest creation: FutureVerb, a plugin that claims to deliver the brand’s cleanest, most natural-sounding reverbs to date – and a flexible echo mode for when things need a little extra flavour.
For producers who swear by Valhalla’s VintageVerb or Supermassive, this new addition might just be the next essential on the mix bus. The company describes FutureVerb as a product of “eight years of research and development,” built around new algorithmic reverb topologies that aim for spatial realism across all decay settings.

READ MORE: Best reverb plugins 2025: Our favourite free and paid-for reverb plugins

To start, FutureVerb comes with eight reverb modes, covering everything from familiar spaces like Room, Plate, Hall, to more experimental environments like Space, Frozen and Nonlin.
According to developers, all of the FutureVerb algorithms have been designed to sound good even without any modulation being used, though you can easily crank up the depth for that lush, epic ambience Valhalla is known for.
FutureVerb also features an Echo section with 12 modes, including Modern, Tape, Digital, Analog, Detune, Reverse, ReverseOctUp, ReverseOctDown, ReverseOctUpDown, Sparkle, Swarm, and LoFi. Sparkle, for instance, is a new pitch shifting granular echo that offers spread control so you can fade between two and eight detuned granular delays.
The plugin also offers various routing options. Users can use the Echo Modes as predelays, switch the Echo -> Reverb routing to use the echos as post processing of the reverb, or create sparse and characterful reverbs solely from the Echo Modes by turning up the Spread and Feedback parameters.
Visually, FutureVerb follows Valhalla’s “less is more” mantra: a minimal, colour-coded interface with just the right amount of control. Mix, Width, Mod Rate, and EQ are all right where you expect them, and the Colour control not only changes the tonal character (Bright, Neutral, Dark, or Studio) but also shifts the GUI hue to match the mood.
The plugin is priced at $50 and is now available from Valhalla.

The post Valhalla reverbs are some of the most revered in the business – after 8 years in development, FutureVerb delivers its “most transparent and realistic” yet appeared first on MusicTech.

Jungle Audio’s Duke is the trippiest lo-fi plugin you’ll ever encounterSick of staring at grey knobs and flat waveforms? Of plugins that sound good but feel like office software? Well, Jungle Audio’s latest lo-fi multi-FX, Duke, is here to shake things up.
The debut release from Jungle Audio – a creative collective led by Grammy-nominated producers Kevin Seaton and DJ Kyriakides (aka Daylight) – Duke promises to bring colour, chaos and character back into music production.

READ MORE: You can now access Tracklib samples directly from your DAW thanks to its new free plugin

As you can probably tell, this isn’t your average lo-fi plugin. Duke drops you into a swirling, animated world where every knob twist ripples across the screen and reshapes your sound in real time. Think tape warmth meets Saturday-morning acid trip – complete with a grinning 3D owl mascot who reacts to your every move.
“We wanted to build tools that make the creative process more interactive, intuitive and fun on a new level,” says co-founder Seaton. “We’re blurring the lines between audio engineering and entertainment.”
Underneath Duke’s psychedelic skin sits a serious DSP engine. The plugin fuses the nostalgic grit of tape, vinyl and early digital samplers into one deceptively simple interface. A handful of knobs control a lush lo-fi playground of saturated textures, dynamic noise layers, and wobbly musical modulations – perfect for adding character to any source.
Credit: Jungle Audio
More than cosmetic, these changes are designed to deepen engagement and turn the production process into an experience, not a routine. “We wanted plugins that feel special and different,” says DJ Kyriakides. “In the same way that rare analogue gear has a unique sound and soul, Duke brings that same energy into the digital environment.”
Retailing now at a Black Friday Sale price of $49 (U.P $79), Duke is available in Windows and Mac in VST3, AU and AAX plugin formats.
Learn more at Jungle Audio.
The post Jungle Audio’s Duke is the trippiest lo-fi plugin you’ll ever encounter appeared first on MusicTech.

Original Loopmasters founder Matt Pelling buys company back from Beatport: “Loopmasters has always been in the inspiration business”Loopmasters has been reacquired by former owner Matt Pelling, who sold the company to Beatport back in 2020.
Founded by Pelling in 2003, Loopmasters became a leading sample library and a go-to for producers worldwide, and the team later started Plugin Boutique and Loopcloud, which, like Loopmasters, were acquired by Beatport in 2020 for an undisclosed amount.
Since the sale, Pelling has served as a director of the Rhodes Music Group. He confirms to MusicTech that he’ll stay involved in both companies for the “foreseeable future”. Now, the new acquisition marks the first time Plugin Boutique and Loopmasters have split.
In his official statement, Pelling notes how the five years between 2020 and now allowed him the time and space to start a family and work on other projects, but that he “always missed what I had built with Loopmasters and Loopcloud”.
“Today’s technological landscape has only inspired me more. Working on multiple projects, I’ve been able to contrast making handcrafted musical instruments at Rhodes with modern AI-assisted software. It turns out there’s a commonality when it comes to creating music tools that stand the test of time.”
We caught up with Matt Pelling to get the lowdown on his acquisition of Loopmasters, and what we can expect from the company in the near future.
Do you have any big ideas you’d like to implement right away now you’re back in control of Loopmasters?
“It’s an exciting time for music producers and for everyone involved in the music software space. As a producer myself, I’ve been inspired by many of the latest tools and technologies emerging today. I’ve always embraced innovation – especially when it serves the producer rather than replaces them.
“We do have big ideas for the future, but it’s important we take the time to evaluate them properly – to make sure everything we do genuinely serves our customers and stands the test of time, rather than adding complexity for the sake of it.
“Ultimately, Loopcloud, powered by Loopmasters exists to provide fast access to inspiration at any stage of the creative journey. Any new ideas we pursue will always keep that purpose at the centre.”
Credit: Press
This is the first time Plugin Boutique and Loopmasters have split. How much does this change the business model of Loopmasters? 
“Loopmasters and Loopcloud have always operated largely independently from the team at Plugin Boutique, aside from a few shared people. With that in mind, we’re now a smaller company than we may have appeared while part of the wider Plugin Boutique and Beatport ecosystem – but in many ways, it feels very familiar. It reminds me of the early days when we first put our name on the map – those were incredibly exciting times. We remain close with our friends at Plugin Boutique.”
How do you see the landscape of online sample libraries changing over the next 5 or 10 years?
“Loopmasters has been around for nearly 25 years, and in that time we’ve seen huge shifts. We started out with CD-ROMs, moved into digital downloads and distribution, then into cloud-based sound libraries and subscription models. Now, of course, everyone is talking about AI and its growing influence on music creation.
“As musicians, we’re always evolving – just like the technology and business models that surround us. But at the core, our mission remains the same: to inspire with our music and to be inspired by the tools we use to make it.
“Loopmasters has always been in the inspiration business, and as long as there’s a need for that spark – for tools that help creators express themselves – I believe this industry will continue to thrive.”
Credit: Press
Does Loopmasters commit to only hosting human-made material, or will AI-created material also be available to purchase? 
“From the very beginning, Loopmasters has worked with a broad range of producers and musicians from around the world to provide our customers with the most diverse and authentic sounds possible. We’re proud to have built and nurtured these symbiotic relationships over nearly three decades.
“We can’t predict exactly where the future will take us, but for now, human-created content remains at the heart of what we do – and it’s where we continue to thrive. That human connection, creativity, and feel is something we’re very proud to stand behind.”
Will you remain in your position as Director at Rhodes Music Group? Will there be any crossover between these brands?
“Having a great team behind me at Rhodes, along with a fantastic and multi-skilled CFO in my friend and colleague Tim Dawson, gives me the freedom to stay involved with both companies for the foreseeable future.
“I hope there will be some natural synergies between the two brands as we move forward – anything is possible. For now, I divide my time between them as needed, focusing on where I can add the most value.
“Rhodes is a wonderful company to be part of, as is Loopmasters, and I feel very fortunate to have found what feels like the perfect balance – shaping strategies that will enrich the future of both in their own ways.”
Are there any learnings you’ve taken from your time as Rhodes Music Group Director that you’ll be able to apply as you reacquire Loopmasters?
“You should be proud of everything you create – only then do you truly earn the attention of others. Working with Rhodes also gave me a deeper appreciation for what it means to build a global brand that’s associated with warmth, positivity, and great music.
“The importance of brand and reputation is magnified at Rhodes, and as a custodian of that legacy, I’ve learned how essential it is to nurture it with respect – while acknowledging the community that helped build it in the first place.
“Providing great products always comes with both risks and rewards, but the common thread is music. That’s where the brand naturally belongs. The closer we stay to the music itself, the more authentic our brand – and our work – will feel.”
Check out Loopmasters.
The post Original Loopmasters founder Matt Pelling buys company back from Beatport: “Loopmasters has always been in the inspiration business” appeared first on MusicTech.

3 reasons Bitcoin struggles to overcome each new overhead resistance levelBitcoin’s momentum loss continues as long-term holders add to market selling pressure, and rising US dollar strength leads investors to reduce their exposure to risk.