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Native Instruments has filed for “preliminary insolvency”, according to documentation reported by CDM (Create Digital Music) today.

Preliminary Insolvency is a court-orded phase where an administrator steps in to protect debtors’ assets, and to see if changes can be made to enable a company to stabilize its financial situation.

In the case of Native Instruments, as of Jan 26, 2026:

• Enforcement measures, including the execution of an attachment or a preliminary injunction against the debtor, are prohibited, unless immovable property is affected; measures already commenced are temporarily suspended.
• Mr. Prof. Dr. Torsten Martini, Attorney at Law, has been appointed as provisional insolvency administrator. Dispositions by the debtor concerning assets of the debtor’s estate are only valid with the consent of the provisional insolvency administrator.

Dr Martini’s role is to secure the debtor’s assets, and to determine whether the debtor (NI) is capable of covering their debts. He will create a special account to manage payments coming in to Native Instruments, and will collect these funds and disburse them as he determins appropriate. To fulfull this role, he will have full access to Native’s facilities, books and business documents.

The announcement is a huge one for Native Instruments and its customers, and reflects both industry struggles since the pandemic and broader trends of industry consolidation.

Native Instruments was founded in 1996, and was one of the first companies to capitalize on the emergence of software synthesizers. For many years, the core of its business was offering a suite of virtual versions of ‘bread and butter’ electronic instruments, including synths and electronic keyboards. In recent years, though, the company had focused much of its energy on content.

NI has been facing stiffer competition in the virtual instruments space from companies like Arturia and Cherry Audio, which have been moving faster to introduced new virtual instruments, and the growing category of synth knockoffs from Behringer, which is now offering hardware instruments that are competitive with many of NI’s virtual instruments.

We’ve included the original German Preliminary Insolvency announcement below.

3612 IN 602/26

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In dem Verfahren über den Antrag

NATIVE INSTRUMENTS GmbH,

Schlesische Straße 29 – 30, 10997 Berlin,

vertreten durch den Geschäftsführer Bernhard Schütze

Registergericht: Amtsgericht Charlottenburg HRB 72458

– Schuldnerin –

Geschäftszweig: Entwicklung, Vermarktung und Vertrieb von Software, Hardware, Inhalten und Dienstleistungen in den Bereichen Musik und Audiotechnologie

auf Eröffnung des Insolvenzverfahrens über das eigene Vermögen

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Beschluss:

Zur Verhinderung nachteiliger Veränderungen in der Vermögenslage der Schuldnerin bis zur Entscheidung über den Antrag wird am 26.01.2026 um 17:15 Uhr angeordnet (§§ 21, 22 InsO):

1. Maßnahmen der Zwangsvollstreckung einschließlich der Vollziehung eines Arrestes oder einer einstweiligen Verfügung gegen die Schuldnerin werden untersagt, soweit nicht unbewegliche Gegenstände betroffen sind; bereits begonnene Maßnahmen werden einstweilen eingestellt (§ 21 Abs. 2 Nr. 3 InsO).

2. Zum vorläufigen Insolvenzverwalter wird

Herr Rechtsanwalt Prof. Dr. Torsten Martini

Kantstraße 164, 10623 Berlin

bestellt.

Verfügungen der Schuldnerin über Gegenstände des schuldnerischen Vermögens sind nur noch mit Zustimmung des vorläufigen Insolvenzverwalters wirksam (§ 21 Abs. 2 Nr. 2 2. Alternative InsO).
Der vorläufige Insolvenzverwalter ist nicht der allgemeine Vertreter der Schuldnerin. Er hat die Aufgabe, durch Überwachung der Schuldnerin deren Vermögen zu sichern und zu erhalten (§ 22 Abs. 1 Satz 2 Nr. 1 InsO). Der vorläufige Insolvenzverwalter hat zu prüfen, ob das Vermögen der Schuldnerin die Kosten des Verfahrens decken wird (§ 22 Abs. 1 Satz 2 Nr. 3 InsO).
Der vorläufige Insolvenzverwalter wird ermächtigt, für die zukünftige Insolvenzmasse ein Sonderkonto einzurichten und zu führen, Bankguthaben und sonstige Forderungen der Schuldnerin einzuziehen sowie eingehende Gelder entgegenzunehmen.
Die Konten der Schuldnerin führenden Kreditinstitute werden dem vorläufigen Insolvenzverwalter gegenüber zur Auskunftserteilung verpflichtet.
Den Schuldnern der Schuldnerin (Drittschuldnern) wird verboten, an die Schuldnerin zu zahlen. Sie werden aufgefordert, Leistungen unter Beachtung dieser Anordnung nur noch an den vorläufigen Insolvenzverwalter zu leisten (§ 23 Abs. 1 Satz 3 InsO).
Gem. § 8 Abs. 3 InsO wird der vorläufige Insolvenzverwalter beauftragt, die Zustellungen des Beschlusses an die Schuldner der Schuldnerin vorzunehmen (§ 23 Abs. 1 Satz 2 InsO) und hierüber Nachweis zu führen.
Der vorläufige Insolvenzverwalter ist berechtigt, die Geschäftsräume und betrieblichen Einrichtungen der Schuldnerin einschließlich der Nebenräume zu betreten und dort Nachforschungen anzustellen. Die Schuldnerin hat ihm Einsicht in die Bücher und Geschäftspapiere zu gestatten und sie diesem auf Verlangen bis zur Entscheidung über die Eröffnung des Verfahrens herauszugeben. Sie hat ihm alle Auskünfte zu erteilen, die zur Sicherung der künftigen Insolvenzmasse und zur Aufklärung der schuldnerischen Vermögensverhältnisse erforderlich sind.
Hinweis:
Die in einem elektronischen Informations- und Kommunikationssystem erfolgte Veröffentlichung wird dort mindestens für die Dauer der Wirksamkeit der Anordnung gespeichert. Im Falle der Eröffnung erfolgt eine Löschung spätestens sechs Monate nach der Aufhebung oder der Rechtskraft der Einstellung des Verfahrens (§ 3 Abs. 1 S. 1 InsOBekV); falls nicht eröffnet wird, erfolgt eine Löschung spätestens sechs Monate nach Aufhebung der veröffentlichten Sicherungsmaßnahme (§ 3 Abs. 1 S. 2 InsOBekV).

Let us know what you think of this news in the comments!

The cult classic soft synth is back, 16 years on from its previous iteration.

Native Instruments has unveiled Absynth 6, marking the return of a legendary semi-modular synthesizer built for creating textures and soundscapes that evolve and breathe, adding new, otherworldly dimensions to your sound.

Developed in partnership with Absynth creator Brian Clevinger, Absynth 6 adds an AI-powered browsing experience and modern compatibility.

Absynth’s signature suite of effects and groundbreaking hybrid engine combine granular, FM, wavetable, and subtractive synthesis for sounds that go beyond patches to create entire soundscapes.

The semi-modular powerhouse, overhauled for a new generation of musicians, features full MPE polyphonic aftertouch, surround support and an AI-powered browser.

“Our very first product – nearly 30 years ago – was a synth”, says Simon Cross, Chief Product and Technical Officer at Native Instruments. “Returning to Absynth brings us back to the heart of what inspires us. It remains one of the most singular instruments in electronic music, and we always knew its revival could only come with the involvement of Brian Clevinger himself.”

“When I originally created Absynth,” says Brian Clevinger, “I wanted an instrument that invited people to lose themselves in sound. Seeing it evolve into Absynth 6 has been genuinely moving. It still has that strange, alive quality, only now with the range and precision to inspire a new generation of explorers.”

Absynth 6 represents an evolution for one of the best loved soft synths of all time, one that enabled a generation of producers and composers to create never before heard sounds across ambient and dance music, and scores for film, television and videogames.

“Maximum crunch, constant panic” is how Brian Clevinger, Absynth’s creator and founder of Rhizomatic described the final pre-release push.

You see, Absynth isn’t just any soft synth. Its sea-green colour scheme and idiosyncratic architecture is something that a generation of sound designers and synthesists have grown up with.

And this isn’t just a new version: it’s a full-blown resurrection.

Arriving two years after the product was discontinued by Native Instruments, and 16 long years since the release of Absynth 5.

Reflecting this heritage, Absynth 6 launches with a suite of presets, created by musicians that best embody this restless creativity: Brian Eno and Kaitlyn Aurelia Smith at launch, with more to be added in future updates.

Absynth 6 Key features:

• Hybrid semi-modular engine combines subtractive, FM, sample-based, and granular methods.
• Living modulation: Sculpt textures that breathe and transform with the hyper-detailed 68-point envelope generator.
• Inspiring mutations: The classic Mutator offers intelligent preset generation with depth and randomness controls for instant inspiration.
• Modern expressiveness: Full MPE and polyphonic aftertouch support enables nuanced, per-note performances.
• Surround sound and microtuning: Absynth 6 features true multichannel surround spatialization and MTS-ESP support for global microtuning and new harmonic systems.
• Preset Explorer: The preset library is arranged into an intuitive visual map so musicians can browse sounds by timbral quality, or as a classic browser.
• Spatially bend Absynth’s unique suite of creative effects like Aetherizer and Cloud Filter with per-effect surround control.
• Legacy patches and presets: Explore vintage patches all the way back to Absynth 1, and load your own presets from Absynth 4 and 5.
• New artist presets: From Brian Eno, Kaitlyn Aurelia Smith and Richard Devine.

Absynth Preset Explorer. The new Absynth Preset Explorer reflects Native Instruments’ evolving approach to AI: reduce friction, keep artists in control, and encourage exploration over automation.

A deep-learning model analyses the timbral traits of every preset, arranging the library into an intuitive visual map so musicians can browse by feel rather than scroll through linear lists. Simple filters let users shape their own aesthetic path, while the system handles the heavy analysis behind the scenes.

“AI should widen the creative field, not collapse it,” says Andy Sarroff, Head of Applied AI at Native Instruments. “The Preset Explorer listens closely, then gives that insight back to the musician in a way that sparks discovery. It’s a guide, not a substitute for craft.”

Weird by Design. The Preset Explorer has also informed the visual campaign for Absynth 6, created in collaboration with digital artists Weirdcore, known for his live visuals for Aphex Twin, Radiohead, Charli XCX and Oneohtrix Point Never; and radical post-internet designer Swarmm.

Taking inspiration from the AI-powered matrix of the preset explorer, as well as Absynth’s reputation for world building, the hero video transports us to a liminal urban geography, intervened by sweeping glyphs and gaussian-splat renders, conjuring a hidden world of creativity beyond the surface of the ordinary.

Weirdcore will continue to bring Absynth 6’s Weird by Design philosophy to life with the rolling-release of specially commissioned ‘visualizer artworks’, based on original Absynth 6 compositions from a host of renowned DJ’s and producers. Each original track will be paired with custom visuals, with an original track by multi-hyphenate Australian polymath HAAi, with more artists to be added in the weeks to come.

The release of Absynth 6 represents a continuation of a legacy and a passing of the baton, presenting new possibilities of sound creation, and opening the field to a generation of producers, unafraid to explore, and ready to make their mark on the future.

Native Instruments’ Absynth 6 is available now via the Native Instruments online store. For new users of Absynth, Absynth 6 costs MSRP: $199 /€199 /£ 179. Absynth v. 2-5 owners can upgrade to Absynth 6 for $99 / €99.

For more information, get all the details at Native Instruments site.

Native Instruments has released Maschine 3.4, a free update that introduces an updated modulation and automation editor and more.

What’s new in Maschine 3.4:

• Modernized Modulation Editor – The editor has been rebuilt on a new technical foundation for a smoother, high-DPI visual experience.
• New Linear Point Workflow – Maschine now creates smooth, linear transitions between any two modulation points, allowing you to create predictable ramps and sweeps with ease.
• Curve Editing – You can now create smooth, curved slopes by simply holding Alt (Option on macOS) + dragging any line segment. This is perfect for filter sweeps, synth swells, and dynamic, expressive modulation.
• Optimized Hardware Automation Recording – Your hardware performances are now captured as clean, optimized linear points. This means no more cluttered lanes with micro-steps, just the smooth performance you played, ready to be edited.
• Improved Editing Tools:
  • Pencil Tool: Freely draw complex modulation shapes. Turn on the grid to draw quantized, stepped automation, just like the classic workflow.
  • Advanced Selection: Use the Marquee Tool to select groups of points at once , or use Shift-Click to select multiple individual points, even if they aren’t next to each other.
• Smarter Workflow & Visuals:
  • Modulation in the Arranger: You can see a preview of your modulation directly on clips in the Arranger view, letting you see modulation in context.
  • New Visuals: The editor has a refreshed design, a new background grid, and helpful tooltips that show you the precise value of a point when you hover over it.
  • New Zoom Shortcut: Use Cmd + Scroll (macOS) or Ctrl + Scroll (Windows) for quick horizontal zooming in the editor.
• Play Series & Effects for Maschine+ – This update also brings massive new power to standalone. A selection of Play Series instruments (like Empire Breaks, 24K Keys) and studio effects (like Solid Bus Comp, Replika) are now compatible with Maschine+.

Visit the Native Instruments site for details.