In his latest video, Circuit guru Gabe Miller covers 11 ways to get more from your Novation Circuit.
If you’ve got your own tricks for getting more out the the circuit, share them in the comments!
11 Ways To Get More From Your Novation Circuit:
00:41 Saving tricks 02:29 Hold down buttons for faster changes 03:27 Slap-back delay 04:47 Put multiple drums on track 1 05:51 Import pre-layered sounds 06:33 Load in twice the synth patches 07:41 Step automation 08:23 Percussive maintenance 09:25 Half-time for longer parts 10:13 Use microsteps to their fullest 11:23 Quintuplet and septuplet grids
Developer Roman Fischer has introduced Hypertron for iOS, a new software instrument for iOS that they say “offers the best features of well known samplers, sequencers and drum machines for quick editing and flexible music production.”
It’s a free app, but offers in-app purchases to get sample content and to unlock some advanced features. See the details below.
Features:
Samples can be indiependently altered and arranged in sequences and groups
Alter the pitch of each step separately in real time
Add and adjust effects with swipe-gestures
Effects: Lowpass, Reverb
PRO Effects: Highpass, Distortion, Delay, Pitch, Timestrech
Record your own samples with the internal microphone
Slice samples, adjust Fade-In-, Crossfade- and Fade-Out- regions in a breeze
The Hypertron comes with a simple, yet effective monophonic synthesizer:? Two oscillators and one LFO controlling frequency and filter separately
Innovative Noterepeat-Slider
Live-record and export your project as WAV or MP4
PRO: Export every individual track of your project as WAV
PRO: Import your own samples via the filebrowser
Masterbus: alter the sum with a Highpass-Filter and Compressor
Duplicate groups with drag & drop
Virtual keyboard
Support for external MIDI-Keyboards
Audiobus-ready
Ableton Link-ready
Pricing and Availability:
Hyperton is available now as a free download, with unlimited playtime and the ability to record as many samples as you want. The Pro features are unlocked via a $4.99 In-App purchase.
Throughout 2020, Calvin Harris has been pouring his musical efforts into Love Regenerator, his moniker dedicated to deeper house and techno sounds. The output from Harris’ Love Regenerator project has been not only strong but also consistent: this year, Harris has released three solo Love Regenerator EPs in addition to his collaborative EP with Eli Brown, Moving. Now, he’s back with more Love Regenerator material, this time with The Internet’s Steve Lacy.
“Live Without Your Love” is some of Harris’ funkiest work to date under the alias. The track stays true to the deep club sounds integral to Love Regenerator’s sound, but orients more towards pop and R&B than his previous material under this name. From the outset, a groovy bass line and Lacy’s smooth vocals set the tone for a feel-good deep house track. As “Live Without Your Love” progresses, more and more melodic elements filter into the track, culminating in some of Love Regenerator’s most easily approachable music to date.
Snoop Dogg and DMX will face off in a battle for the next Verzuz clash.
Launched in March, the Verzuz series is a clash concept from producers Swizz Beatz and Timbaland, and has seen the likes of Alicia Keys, Beenie Man, and Ludacris face off in music battles.
Next week, rappers DMX and Snoop Dogg will go head-to-head in what Verzuz have dubbed “The battle of the dogs”. Taking place on Wednesday 22nd July, the performance will be available to watch on IGTV and via Apple Music.
Snoop Dogg announced the clash on his Instagram yesterday (15th) with the event poster captioned “I ain’t got no dogg in this fight! Yes u do who u got.”
Check out the post from Snoop Dogg below.
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In an effort to preserve the remainder of the NBA’s 2019 – 2020 season, many players have been relocated to a quarantined area in Orlando to limit the spread of COVID-19. Inside this “NBA Bubble,” players live in three separate hotels within Disney World, where they are provided with a variety of amenities and entertainment. In addition to the pool tables, video games, movies, and other attractions, the NBA promised players special, DJ-led parties. The first of these events just took place on July 11, where Miami’s own DJ Nasty delivered a momentous set to a big audience, but not the kind of audience that one might usually expect.
Standing tall at 6’11 and weighing in at a massive 265 pounds, Dwight Howard, the only attendee of the NBA Bubble’s debut DJ party, is certainly a “big” audience. In a live Instagram story that Howard shared while the show bumped on in the background, the notoriously high-spirited Lakers player paraded around the fully staffed, yet otherwise completely empty, venue. Howard gave viewers a tour of the area, speaking to the amused staff and showcasing the various games available to play, before eventually settling in at the bar with a “Cancun Colada.”
Teammate Anthony Davis explained why many players failed to show, stating,
“To be quite honest, the first time I heard of the DJ thing was today. Dwight told me he was the only one there. Quite frankly, a lot of guys just didn’t know about it.”
The ongoing pandemic has certainly created many surprises, but a two-person party featuring DJ Nasty and Dwight Howard in a quarantine bubble is not something anyone could have predicted.
Dwight is at the Coronado Springs pool party solo…but they got him right with a “Cancun Colada” slushiepic.twitter.com/MBYaoyK37k
Okay – are you moving around, even in the privacy of your own home/studio, as you make music? This producer is – and you can feel that commitment in the music.
One of the releases I’ve been most consistently excited about this year is the latest from Zoë Mc Pherson – atop her new AV platform/label SFX with director Alessandra Leone. States of Fugue is pure, kinetic energy – perpetual motion of irregularly-phrased rhythms, forceful shouts and percussion.
It does all of that without becoming tiresome or forced – all that fluid, polyrhythmic material is confident and direct, not cluttered. Then it finds moments to be murmuring and reflective (“Power fluids”), to dig into delicate futurism (“Taste”) and find other truly fresh avenues. I’ve known Zoë round about the European scene for a while, so I appreciate even more that this epic work gestated and tumbled out like this.
But, oh yeah – the topic of dancing. A weird trope seemed to emerge in my promo inbox where a bunch of electronic music producers seemed to tout their productions with some dancer alone in a room flapping around in vague modern dance moves. This is better than that for various reasons, but not least being the producer is the one doing the dancing. And that’s more brave, more relevant – and more engaging.
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I mean, how often have you found your musical ideas becoming stagnated, lost in a dizzying swirl of clicking and editing and knob adjustment? How often have you just felt stuck in your head – emotionally, creatively? After all, our brains are not some astral disembodied thing floating on the cosmic plane; they’re very much a gooey thing that lives inside our body.
I expect we’re all feeling that with an order of magnitude more intensity now, stuck in place, necks tensing, trying to simultaneously juggle a real-time feed of apocalyptic news with a corporate-juiced-up social media discourse that seems a bit like a bunch of 13-year-olds having a meltdown got connected to some AI. (I mean, assuming you didn’t get a nice short holiday yesterday when some hackers took over your account and started selling Bitcoin.) None of this puts you in a frame of mind to make music.
So maybe this is the perfect moment to contemplate moving around. The rhythms in Mc Pherson’s work are sophisticated, nuanced – but also inspire motion. And motion in turn can inspire phrasing, no matter how beatless and experimental the medium.
I recall once in an experimental improv group I was leading in college, all the musicians had sort of broken down and stopped listening to one another. I told everybody to leave their instruments behind, abandoned the (trained) dancers we were accompanying and headed for a rehearsal room. We switched the whole improvisation to a wordless ensemble movement piece – not one of us an educated dancer. Sure enough, when we re-entered and played, the music clicked.
We all have different bodies and ages, and different abilities. Music is made even by people working with just motion from their eyes. But there is at least some range of motion that can engage our body and musical selves.
And kudos to Zoë for putting herself into the work. It makes me keen to see the full audiovisual show with this collaboration, now delayed but hopefully coming soon.
Here’s a profile of the artist from April from Fact. Now if you’ll excuse me, I’m going to go get away from this desk myself.
It will not help you go explore and move around (well, unless you dance along with your computer). But here is a linkhole full of terrific audiovisual collaboration:
Less than three weeks from announcing, Live Nation has cancelled the drive-in concert series, Live From the Drive-In, entirely. Following the lead of Germany’s World Club Dome and others in hosting socially-distant music events, the new Live Nation tour was set to be the first ever drive-in series in the US and featured Brad Paisley and Nelly among others in its nine-stop trek through July 10-12. In the UK show portion, The Streets, Dizzee Rascal, and Sigala were slated to play across 12 locations in England and Scotland.
Live Nation cited the potential of lockdowns as the primary factor in the cancellation. As COVID-19 cases spike in several at-risk areas, the UK government has implemented local lockdowns in efforts to stave off an outbreak. All ticket holders will receive full refunds.
“We received huge support from artists, the live music production contractors, our headline sponsor Utilita, along with our other partners, and of course you, the fans. However, the latest developments regarding localised lockdowns mean it has become impossible for us to continue with the series with any confidence,” stated Live Nation.
Parookaville has unveiled its full lineup for its special livestream event, LIVE from the City. Taking place in lieu of its sixth annual iteration, the special edition of the beloved Germany-based festival will welcome 200 exclusive ticket winners to the festival grounds of Weeze Airport on July 17-18. While attendees will experience a mini version of Parookaville, fans can stream the unique broadcast worldwide for free.
Each day of LIVE from the City will see 100 guests attend and follow hygienic and protective measures. Featured artists including W&W, Fedde Le Grand, Felix Jaehn, Alle Farben, Topic, and more, will play on a circular open-air stage surrounded by 25 separate lots allotted for four attendees each. A civil wedding ceremony between Sabrina and Marvin will also take place on Saturday in the Warsteiner Parooka Church.
Those live streaming from home can participate in the event through video calling in by posting the hashtags #parookaville and #livefromthecity. Invited viewers will have a chance to appear live on the LED screens throughout the festival.
LIVE from the City takes place July 17 at 7:00 pm-12.00 pm CEST and July 18 at 6:00 pm-1:00am CEST. Watch Friday’s sets on Dancing Astronaut‘s channel here and stream the event on Parookaville’s website here.
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