Splice just bought Spitfire Audio. I know we’re just as shocked as you are!
Splice, known for supplying loops, 1 shot samples, and a rent to own model that bedroom producers swear by, just scooped up one of the most respected names in orchestral and cinematic sound library game.
Not 100% sure what to make of this, definitely wasn’t on our bingo cards!
A little About The Sound Companies
Splice has been around since 2013 (ish). It’s got deep roots in the beat making community and is best known for its massive sample library and rent to own plugin options.
Artists like Murda Beatz, KSHMR, Sonny Digital, and even Metro Boomin have all contributed packs to the platform.
It’s a go to for seasoned and bedroom producers, TikTok beatmakers, and anyone who wants to sit down and crank out music with quality sounds.
Spitfire? Founded in 2007, it built its name with lush orchestral libraries recorded in iconic studios. We’re talking collaborations with Hans Zimmer, Olafur Arnalds, the BBC Symphony Orchestra, and more. Cinematic, expressive, and widely respected by film, TV, and game composers.
Slightly different overall market, but same goal and that’s making it easy for music creators to have the quality sounds they need at their fingertips.
And now, they’re joined at the hip!
Why Though? Well..The Acquisition Makes Sense
From a business standpoint, this move actually adds up.
Splice has been dominant in the sample game, but it hasn’t really touched the high end instrument or scoring world. That’s where Spitfire shines.
This gives Splice a solid foothold in the $640 million plugin and sound library market, which is a significant slice of the industry. It also gives them a ton of credibility.
Spitfire is trusted by working composers, film scorers, and anyone serious about orchestration. People know the name, they trust the brand and they love the sound quality!
On the flip side, Spitfire gets access to Splice’s massive infrastructure. We’re talking about a platform that’s already optimized for subscriptions, search, cloud storage, rent to own pricing, and global distribution.
That’s a powerful delivery system, especially when you already have world class sounds, but want more reach.
So in theory, there’s a lot to be gained, but how? That’s the question that users from both sides are wondering.
Spitfire + Splice CEOs Face To Face
Splice and Spitfire dropped an official video to talk about the merger. It was filmed at AIR Studios, which holds a lot of meaning for Spitfire. That’s where the company got its start.
Paul Thomson (Spitfire) and Kakul Srivastava (Splice) sat and talked about their company’s shared values. Both companies are full of musicians. Both care about the craft. And both, they said, want to make software/tech that help creators; not that replace them.
It’s about giving musicians more ways to be expressive, not taking the process away from them.
On the tech side, Spitfire’s Merlin engine came up, as well as LABS and the BBC Symphony Orchestra library. Kakul called them prime examples of tech done right and said she’s excited to see what happens when those tools are paired with Splice’s growing tech and AI systems.
Paul made it clear he’s not leaving. He’ll still be leading product development and helping shape the future of Spitfire.
Community Reaction: Support, Skepticism, Fears and Uncertainty
This announcement hit different depending on who you ask. If you scroll through the comments on YouTube, Reddit, and Instagram, and it’s clear music makers are not on the same page.
Some producers are pumped. “This is the collab I didn’t know I needed,” wrote one Splice fan on Instagram.
“Spitfire libraries on rent to own? Sign me up.” There’s a lot of excitement about more access, faster workflows, and the idea of getting orchestral sounds into the hands of newer creators.
But for long time Spitfire users, the sentiments weren’t nearly the same.
You see lots of replies and phrases like “typical corporate move,” “soulless,“ and “RIP Spitfire“ etc.
One of the top YouTube comments said the video “felt like a hostage situation.“ Some users even joked that Paul looked like he had been forced into the announcement.
The biggest concerns?
- The introduction of AI into Spitfire’s DNA
- Subscription creep, especially after LABS+
- Losing trust in a company that once felt built by composers, for composers
There’s also fear that Splice’s rent to own/subscription model could sneak into Spitfire’s existing libraries.
Many are worried they’ll lose access to the products they already paid for. And nearly everyone seems nervous about AI changing the value of human composed music.
Some are leaving. Others are cautiously watching. But nearly everyone agrees things won’t be the same.
And Along Comes AI
This is one of the most controversial talking points of the relationship. Splice has been leaning into AI for a while.
Some argue AI can’t truly create. It can’t feel pain and as one commenter said, “AI can’t imagine. It just rearranges what it’s already seen.”
Others say that misses the point. and that AI doesn’t have to “create.“ It just has to sound creative.
One Redditor made a solid point. They said Splice is backed by Goldman Sachs. They’ve invested in platforms like Splice, Epidemic Sound, and Believe Music, companies focused on scalable tools, catalogs, and AI driven workflows.
And dropping $50 million on Spitfire Audio? That’s about scale and data.
Their concern wasn’t just about the samples. It was about intent. Spitfire’s expressive, human made libraries could end up fueling AI tools that shift focus away from real composers.
They also suggested Splice may be eyeing Spitfire’s Merlin engine more than the samples. With that tech under the hood, Splice could supercharge its AI workflow.
The optimists see new workflows. The pessimists are backing up their libraries. And most of us are somewhere in the middle…just interested in seeing where things go.
What's Next For Music Makers
Alright, so the deal is done. Now what? If you’re a Spitfire user, you’re probably wondering
- Will libraries bought still work 5 years from now?
- Are perpetual licenses going to quietly disappear?
- Will the player still be supported?
- Will I need a Splice account just to open my libraries?
- And what exactly does “ethical AI“ even mean?
None of that has been answered clearly. We’ve heard “We’ll operate independently“ and “We’re committed to supporting creators.“
That’s fine. But some folks have been making music for years and have seen this kind of thing before with other companies, and it didn’t always end well. So yeah, a little pause? Totally understandable.
For producers and composers, this is one of those moments to stop and take inventory.
Back up your libraries, keep your receipts, double check your logins, and make sure you’re clear on what you fully own versus what might be tied to a platform or subscription/payment plan.
And no need to hit the panic button just yet. A change in leadership doesn’t mean everything’s doomed. This could open doors to new things and new workflows or inspire a few folks to try out options they hadn’t thought about before.
If Splice and Spitfire are aiming for a long-term win, the best way forward is through action. They’ll need to show that they’re still focused on helping musicians thrive, building software and sample packs people actually enjoy using and following through on what they say.
That kind of consistency goes a long way.
Anyway, how are you feeling about all this? Does this feel like a new chapter… or the beginning of the end? Drop your thoughts in the comments and let’s talk.
One Response
Build Bigger and Better, the only Fear is Fear itself. Every Composer’s Creativity belongs to themselves despite what the Software Authors (believe-hope) that create AI thus challenging Musical ownership Rights!
Selah