Israeli AI music creation startup Session42 is planning to release a new production tool, HitCraftBrothers Roy and Oudi Antebi have had a hand in producing hits for years. You might have heard their work if you indulge in the odd Eurovision party; from Israel’s 2018 Eurovision-winning song Toy to last year’s entry, Noa Kirel’s Unicorn, the Antebi brothers have quite the ear for a catchy pop tune.
The pair’s latest endeavour should aid fellow producers in the studio. Their music tech company, Session42, aims to offer AI production services to industry professionals – and their latest release, HitCraft, is their first serious tool.

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Speaking to CNews, Oudi explains that HitCraft isn’t your average AI model. “We are creating a more complex algorithm,” he explains. The tool analyses songs and creates a skeleton of any given track, which producers can then build a track around. And it’s set to safe ample time in the studio.
“Our model is the entire production,” Oudi explains. “If we could do it without artificial intelligence, we would do it. But it allows countless interactions with the songs. No two will be the same, [which is] important to us.”
HitCraft’s first hit was produced in collaboration with Israeli AI company, Aiode. Here Forever ( כאן לעולם) is the first ever Hebrew track produced with the aid of AI. Perhaps controversially, the track revived two famous Israeli singers, emulating the voices of Ofra Haza, who passed in 2000, and Zohar Argov, who died in 1987.

Speaking with publication Israel Hayom, Oudi further explains the company vision: “We set out to build a music production machine, recognising that in commercial music, producers often create the hits. But not every musician can afford pricey studio time.”
“Think of our system as your virtual producer,” he continues. “You feed a sketch into a chatbot, specify your preferences, and within minutes, you’ve got a polished track. It’s revolutionary and accessible to everyone.”
The tool is also trying to maintain the human touch. “We continuously incorporate human-produced tracks, compensating producers each time their work is used,” Oudi says. “This keeps our system learning and evolving while ensuring fair compensation. We have strict guidelines for using human artists’ music and productions, prioritising quality and accuracy.”
While it’s unclear how successful the tool will prove to be, AI-influenced music is certainly making its mark on the industry lately. Germany recently had a totally AI-produced track dominating the radiowaves, Verknallt in einen Talahon reaching #48 on the charts.
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