Resolume adds transitions, better gradients – and here’s how to stream with it

Resolume brings some subtle but powerful improvements to this live visual/VJ/media server tool. Here’s a look – plus a quick tutorial for streaming live with OBS.

Resolume is a unique favorite in the live visual world partly for its elegant, straightforward UI. That hides some powerful features, which might not be immediately apparent if you’re used to tons of toolbars and palettes. These little changes pretty well fit in that category.

There’s a new gradient tool that handles multiple colors – so, basically, taste the rainbow, folks!

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But what I think will have you really interested is the “Transition Phase.” Described in words, it sounds kind of boring – blah, blah, clip … parameter … linking … something. What?

Okay, let me put it this way – it lets you do mind-blowing animations between clips. So you can muck with stuff. And glitch stuff. And do wacky animation things in between clips, so you can edit together… motion… well, like this:

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That looks like a nice way not only for live visuals (you know, the stuff that requires audiences) but also editing slick visuals fast. I don’t know about you, but that latter one is important, so I can get back to jogging/wheezing time and playing video games.

And these kinds of live tools have long been a secret weapon of people making edits faster.

If you do want to stream the results live, though, Resolume have a tutorial up for streaming – which will simultaneously bring you up to speed on OBS (the popular free streaming tool), OBS NDI (a tool for routing video textures between apps), and YouTube streaming.

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OBS NDI plugin:
Youtube Tutorial:
Streaming Resolume:

Okay, enough tutorials, I want to see some raving EDM flamingos, and wish granted:

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And this is trippy and beautiful:

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And this is boxy:

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Lots of other quick video tips are on Resolume’s Vimeo channel – and they really are fast, as great video tips should be:

More on the software:

Bandcamp will repeat their Friday give-backs to artists in May, June, and July

It was a simple idea, but it sent a message. And now Bandcamp is set to repeat the experiment, promoting the idea of buying from artists directly during the COVID-19 pandemic.

On March 20, Bandcamp waived their revenue share on purchases. But the result was seismic: on that one date, people purchased US$4.3 million in music and merch, a fifteen-fold increase on normal Friday sales, the company says.

Now they want to do the same on the first Fridays in May (end of this week), June, and July – that’s May 1, June 5, and July 3. (Midnight to midnight Pacific USA time – so until 9AM Saturday here in Berlin.)

I don’t want to be overly Polyanna-ish here. First, it’s a little scary to talk about “helping artists cover rents, mortgages, groceries, medications.” The need there is too big for $4.3 million to be anything other than a drop in the bucket in groceries alone in a single small country, let alone worldwide. And that sets up lots of independent artists for failure – it wasn’t uncommon for people to see one or two sales, so maybe enough for a couple of packages of instant ramen. You don’t have to be a socialist to see that there’s then a need for government-level intervention.

Second, there’s the fact that Bandcamp’s server got hammered. That may have cost sales. It also likely generated some further attention, but … that particular detail is probably not a good thing to try to repeat.

That said, for some artists, anecdotally, this really did pay rent and groceries – buying some critical time. I heard that not just from big-name artists but on a case-by-case basis from some fairly underground electronic creators. If you were in the one sale/no sale category, you were in good company – no reason to feel bad. But this did help at least some artists reach some critical mass, and that’s a good thing.

And there’s another way to look at this. As a way of marketing the idea of supporting artists directly and valuing their work, this was a knockout. That’s something the rest of the industry could do more – talk about actual individual artists, and simultaneously stop underestimating their fans. This wasn’t just an economic crisis for the arts, but for the planet. And it demonstrated that people wanted to pay to own music and get that money directly to the artist. That just isn’t the kind of concept we hear about in the music business – and that’s, frankly, insane.

Case in point: labels like Polyvinyl are following Bandcamp’s lead and passing on those revenues directly to artists:

So now is the test: if Bandcamp can build on this idea, keep their servers running, and keep spreading this notion, it could send some ripples through the business. And that message needed to go (cough) viral long before the pandemic arrived.

There’s more, too. Bandcamp have some resources in their blog post both for fans wanting to make a difference and artists wanting some advice on how to survive:

Specifically, you’ll want to read through this if you’re an artist releasing music:

Bandcamp are also transparent about their revenue share when they do take a slice – and quite frankly I’m happy to see sales on any day, with or without their share. (I think the main thing here is really the message.)

And they’re doing a nice job of highlighting new music, too, at a time when the music press are also seeing cutbacks. So see, for instance, their latest experimental guide:

Plus excellent stories like this – let’s go to Egypt virtually, if we can’t in reality:

COVID-19 is triggering some great compilations, like Stamp the Wax’s rich outing:

Electronic fans won’t want to miss this superb compilation from Rome’s Enisslab, running from Alessandro Cortini and Dino Sabatini to Erika and BMG and Caterina Barbieri and Lucy and Mike Parker and Shifted and TM404 and Tobias and Wata Igarashi – and basically every contributor is a who’s who. Fundraising goes to The Red Cross.

I’ll be highlighting some other compilations this week leading up to Friday and … well, you know, all the time. In case you missed it, for instance, there was this Bandcamp release of music from the late Mike Huckaby, via Pacou, as covered over the weekend right here:

Oh, also I’m really excited to be part of this compilation. Self-promo alert, but since you can’t hear mine at the moment anyway, let me talk about how much I love Femanyst’s latest tracks!

Supporting artists is easy. Buy downloads from Bandcamp, or Bleep, or Beatport – well, that’s just the ones starting with the letter ‘b,’ but buy them.

And tell them. Leave a review. Leave a note on their page. We can tell each other that we care, as artists. Heck, most artists are really glad if you just listen to their free promo.

Music making is something a lot of us do when alone, but it doesn’t mean we want to feel alone when doing it.

So stay strong out there, and I hope I get to listen to and support lots of music, too.

Lennon Stella talks about her debut album, working with producer Finneas, and her relationship with her sister Maisy [Interview]

“It’s been such a long time coming with really wanting to make an album.” Not only is that the words of 20-year old pop sensation, Lennon Stella, but also the relayed sentiment from the mouths of her slowly-cooked fanbase over the years. The wait for a debut solo studio album from Lennon Stella is over, in Three. Two. One.

When Lennon Stella was only 10 years old, she and her musical family picked up and moved to Nashville in pursuit of her parents’ music career opportunities. Ever since 2012, this Canadian-singer around the age of 13 became known for her acting role portraying Maddie Conrad in the musical-drama television series, Nashville. Both Stella and her sister, Maisy Stella, were a part of the show – garnering fans season after season. However, they began creating their own schtick as an entertaining internet duo via their social media. To give you an idea, their YouTube channel now has over 760,000 subscribers.

Then, 2018 came along and Stella has bravely decided to pursue a solo career. After signing a deal with RECORDS/Columbia Records, her inaugural debut project, Love, me, demanded attention right from the start. This 5-song EP was a taste of what the promising pp star was capable of, as it peaked on Billboard Canada at 60. As all this progressed, she also witnessed an increase in fanbase as her success stirred away from her persona as Maddie Conrad Nashville, and onto Lennon Stella the singer.

She quickly began teasing the growing new fanbase with a few single releases and snippets of a full-length album on her socials. In an interview with EARMILK, she shared, “Having been on a television show since my late childhood, basically from like 12 to 18, that kind of puts you in the spotlight and get people talking about an album for so long,” she continued. “It felt like such a long time preparing.” Then, fans were no longer left wondering if or when the debut album would arrive, as Stella continued her masterful play of social media to share: 

Many artists can feel like they pour their entire life in their first body of work. For Stella, she has a mixture of both her life’s story and themes, but also music that engages with the more recent times.”It felt like such a long time preparing for it. A lot of the topics speak on the last couple of years of her life, but also there are a couple of songs that are reflective of her childhood and who she is as an entire being,” said Stella.

The process of making the debut album essentially began falling into place about two years ago when she and a camp of producers and writers flew to Cabo, Mexico. They were there for 11 days and that’s where she really sat down and penned the majority of Three. Two. One. 

The album opens with the Malay-produced number, “Much Too Much”. The tone-setting intro full of synth-heavy instrumentals paired with a head-nodding dance beat. The tempo of the entire album does not waver too far away from its start. “Much Too Much” is followed then by the album’s lead single “Kissing Other People”. Norwegian singer-songwriter, Caroline Ailin, co-wrote this dance-worthy song alongside Stella. This single establishes a reoccurring sentiment that offers insight into the real-life mentality of the singer. The catchy hook masks the intimacy of the lyrics being shared; “Kissing other people. Oh yeah, that’s how I know that your love is gone. That’s how I know I’m really moving on. ‘Cause I don’t feel guilty kissing other people”. The Captain Cuts-produced single charted at #60 position on Canada’s Hot 100 and already has 900,000+ views on Youtube.

Thirteen (the same number of tracks) was the total on her debut album because it’s her “lucky number”. Stella was born on Friday the 13th and coincidentally, her sister Maisy was also born on the 13th. “I really had such a hard time narrowing it down to that because I feel like there are so many songs that have had a life for so long now through literally Instagram clips or hearing them live,” she shared. “But I think it was important to have some consistency, a story, an evolution. There were songs that I loved so much, but I didn’t really feel like it fit as part of the evolution. So, that’s why those weren’t included, but they will all come out at some point.”

The final record came out on Friday, but four singles have already been released to the public. One of which was co-written by Grammy Award-winning producer and singer, Finneas. The track “Jealous” cleverly talks about the post-breakup moments when one person believes that the other is using their efforts to show their ex up. “He’s so amazing. I love him so much,” Stella shares about working with the brilliant Billie Eilish producer and brother. “He is so musical and so creative. He’s such a freak talent. I went in for a session at his place, (and) I hadn’t met him before that.”

Another album standout is “Bend Over Backwards”, a dance-pop groove that a little over halfway through the LP. Another Malay-produced tune is musically inspired by the electro-pop group MGMT. Stella said “That is the exact inspiration. While writing this one, we were wanting some MGMT vibes. My sister and I, we did a cover of “Kids”. We did that on tour, and that just became a song that I really just loved so much.”

They wanted to mimic that euphoric and festival feeling and used MGMT to influence the direction with “Bend Over Backwards”.

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Towards the end of the album, we get a lengthier two-in-one song titled “Weakness (Huey Lewis)”. The song touches upon Stella’s relationship with her younger sister Maisy. “(She) really is the one thing that unravels all (my) emotions and everything that I’m burying sometimes,” she shares. “Once she hit 15, we just were at the same level, became best friends, and we talk about everything. So, this song’s very much a mutual thing. When all this stuff with the family (happened), very personal things that life just does to you, she was going through it also. And I was the same thing for her. That’s why I really wanted her to sing this.” Maisy, being essentially a life-long collaborator with Stella, sings the second verse & chorus, symbolizing that they as sisters can be each others’ weaknesses. 

Lennon Stella’s, Three. Two. One. is a formal introduction to a blooming high-profile artist. They were able to create both a racy dance-pop record and an open intimate, introspective letter to the world. 

Coronavirus has done some damage to the live experience of the music industry. We know that there’ll be a couple more videos, and maybe some virtual concerts to come in the following weeks. However, in the midst of all the music industry changes, she and her team are likely going to move her headline tour sometime next year as it is for postponed for now.

The important thing is that now, the fans have alas received Stella’s full leg forward as she turns over a new leaf. The LP is now available on all streaming platforms.

Connect with Lennon Stella: Instagram | Twitter | Website | Spotify

‘THE SCOTTS’ lands largest single day Spotify streaming debut of 2020

‘THE SCOTTS’ lands largest single day Spotify streaming debut of 2020Travis Scott And Kid Cudi

Global Spotify chart, meet THE SCOTTS. A commanding collaboration borne from Travis Scott‘s digital Astronomical Fornite performance, Scott and Kid Cudi‘s joint self-titled single, “THE SCOTTS” peaked atop the global Spotify chart, amassing 7.45 million streams on release day, April 24.

“THE SCOTTS” supplanted Billie Eilish‘s ascendant single, “No Time to Die,” to land the largest Spotify streaming debut in 2020 thus far. The hazy rap cut also scripted Fortnite history, attracting a record high of 12.3 million concurrent players, each of whom tuned in to Scott’s unconventional digital concert event.

Featured image: Pigeons & Planes/Twitter

Download, remix and explore thousands of royalty-free sounds from the Library of Congress

A new initiative called Citizen DJ aims to recreate the golden age of hip-hop 

Declan McGlynn

Monday, April 27, 2020 – 10:48

A new initiative called Citizen DJ has uploaded hundreds of thousands of archived audio samples to a new browser app that lets users remix them on the fly. Started by the Library of Congress, users can explore free-to-use sounds in an interactive audio map, remix and combine them with beats in your browser, or just download them in bulk and explore them in your DAW. 

Sounds include sounds from motion pictures, snippets from interviews with actors, musicians and other celebrities, a free music archive and more. Most of the audio is small snippets to encourage sequencing with beats rather than a wholesale sampling of sections, inspired by ‘the golden age of hip-hop’. You can try out, listen to and download the archive here

For more music-making tools, check out our list of nine free music-making tools

New music from Daft Punk on the way in upcoming film score

New music from Daft Punk on the way in upcoming film scoreDaft Punk Photo Credit Olivier Zahm

We have new music from Daft Punk underway as the duo are confirmed to be scoring their second film. Following their contribution to 2010’s Tron: Legacy, the French electronic visionaries are now contributing to director Dario Argento’s upcoming film, Occhiali Neri.

Argento, known for his pioneering work in the giallo and horror genres, told Italian publication La Repubblica that the Androids reached out to him when they caught word he was filming a new project to express their appreciation for his work and their desire to work together. According to Argento, the Random Access Memories duo are due to send him the film’s first songs very soon, and a meet up in Rome in planned for once the global lockdowns end.

Occhiali Neri, which features Argento’s daughter, is set in the Roman countryside, telling the adventure story of a Chinese woman and her child. The film is due to start shooting this fall if possible.

H/T: Mixmag

Rob Papen QUAD Software Synthesizer Now Available For VST/AU/AAX

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Rob Papen has announced that QUAD, originally released as a Rack Extension for Propellerhead Reason, is now available as a VST/AU/AAX plugin.

Here’s what Papen has to say about it:

“The sonic palette is huge, through the vast modulation possibilities that QUAD has to offer. The sound sculpting tools start in each Oscillator and are the Phase Distortion and WaveShaper.
These tools are brought to life by 2 XY-Pads in each Oscillator, which can be moved through an extensive modulation matrix.

QUAD’s Oscillators are complemented by two top-notch analog-modeled Filters, which have different routing options, an arpeggiator, and two high-quality effects processors.”

Pricing and Availability

QUAD is available now with an intro price of $79 USD.

Live Nation releases refund plan for canceled and rescheduled events

Live Nation releases refund plan for canceled and rescheduled eventsLive Nation Refund Graphic

Recently, Live Nation has been the object of much criticism from customers as the ticketing giant—in many customers’ eyes—failed to provide an adequate refund plan amidst the thousands of COVID-19-related show cancellations. As of April 24, the company has released details regarding its refund policy for canceled and rescheduled events.

Ticket-purchasers for Live Nation events held at company-owned venues have the option of receiving a full refund, or 150 percent credit that can be used to purchase tickets to a future Live Nation event. For every individual that elects to receive the 150 percent credit instead of a refund, Live Nation will donate one ticket to their Hero Nation program that provides free tickets to healthcare employees fighting COVID-19.

For large-scale arena shows, however, refunds are still pending. The company is waiting for the NBA and NHL to reach a decision regarding their respective seasons before moving forward with rescheduling these massive events. Once these arena shows secure a new date, Live Nation is to offer refunds to ticket-holders that can no longer attend the rescheduled event.

To learn more, visit

Galantis and Wrabel deliver subtle and timely new tune, ‘The Lake’

Galantis and Wrabel deliver subtle and timely new tune, ‘The Lake’Galantis Credit Rukes

Galantis continue to diverge in style with new Wrabel collaboration, “The Lake.” The single is a timely release the artists collaborated on during stay-at-home orders across the globe, serving as a thought-provoking accompaniment to time spent at home and away from the business of normal life.

“The Lake” opens with Wrabel’s enamoring vocals, and instead of Galantis’ typical energetic production kicking in shortly after, the production backdrop remains subtle. As the chorus nears, orchestral elements kick in and carry the release from the soulful vocals of the introduction into an upbeat melody.

Galantis spoke about the track in an official release, saying, “During this time of social distancing, we’re trying to keep creative and find inspiration for new music. ‘The Lake’ is a bit different than our usual Galantis songs. We wrote it with our friend Wrabel as a reflection of what we’re all experiencing around the world right now. As we are all seeking peace of mind and hoping for a better tomorrow, we hope everyone out there can find a ‘lake’ of their own. Stay safe.”

“The Lake” is out now via Big Beat Records.

Featured image: Rukes