New York is planning to reopen large venues in the city this month.
Back in March 2020, clubs and live music venues across New York City were forced to close as a result of an order by mayor Bill DeBlasio, to help slow down the spread of the coronavirus.
It has now been announced by NYC governor Andrew Cuomo that the city, which was one of the worst impacted at the beginning of the COVID-19 pandemic, will begin to reopen venues later this month with precautions in place.
Following successful trials of sporting events, venues can reopen from the 23rd February 2021 with approval from the state’s Department of Health, and attendees must provide a negative PCR test taken within 72 hours of the event. Masks will also be mandatory, and temperatures of guests will be checked on arrival. If the venue’s capacity is larger than 10,000, crowd numbers will be limited to 10%.
“The truth is, we cannot stay closed until everyone is vaccinated” Cuomo said in a statement, “the economic, psychological, emotional cost would be incredible.”
A little healthy competition never hurt anyone, which is exactly what the launch of HARD Events‘ newest show series, TRY HARDs, will aim to prove. Electronic music favorites will face off against professional gamers in their games of choice throughout the weekly show series, which is set to be hosted on Twitch.
In every episode of TRY HARDs, two DJs will take on two professional gamers, and artists such as Cheat Codes, Wax Motif, Chris Lorenzo, Born Dirty, and Dani from Gladiator have already been announced. Professional Gamers and celebrities set to play in week one are AJ Mitchell, Renée Reynosa, Di3seL, kenjiGX, and JTheReaper.
Season one of TRY HARDs will feature six weeks of streaming with three episodes of gaming and one recap show. Each daily broadcast will center around a gaming theme, with Mondays focusing on lighthearted titles like Super Smash Bros, Fall Guys, and Rocket League. Tuesdays will revolve around first-person shooters such as Call of Duty and battle royale titles such as Fortnite. Wednesdays will tackle sports games like FIFA and NBA 2K. Fridays will be hosted by TRY HARDs host Brittani Johnson as she recaps the week’s highlights with behind the scenes footage and gaming news updates.
For those looking to tune into the action, TRYHARDs will be available via Insomniac’s streaming platforms.
Kasbo rigs his second hour-long marathon in the newly revived series with another package of tranquil and reassuringly melodic selections, including The Making of a Paracosm standouts like “Play Pretend,” as well as appearances from OTR and Au/Ra, Elderbrook, and a bank of unnamed productions that pop up intermittently throughout the mix’s 61-minute duration. Stream Kasbo’s second “Cry / Dance Radio” episode below.
Ableton Live 11 has its final release on Tuesday, 23 February. Near-release beta is available, too. Here’s a refresher on what’s new – and an open thread on what you might like to know.
Okay, let’s put this all in one place:
Live 11 final releases on 23 February.
You can try the beta now. You need to own Live 10 Standard or Suite, but then you can go ahead with the beta. Your mileage may vary, but many of us have – as usual – been on the beta in advance, and been pretty happy.
If you’re thinking of buying, now is probably the time. So, here’s the deal – Ableton doesn’t discount their software very often. Live 10 licenses are now 20% off, and then you get Live 11 automatically. This reverts to the full price after release day.
If you’re on Live 9, I think this is a really compelling time to upgrade. A lot of the work done on workflow really combines well across Live 10 + 11.
Live 10 users, of course, there’s no rush, and we get into a somewhat complex personalized system by which Ableton prices their upgrades. You’ll see that pricing when you log in.
No announcement has been made about M1 support on Apple Silicon. But… it does run; we’ve tested it. It even runs competitively – I was happy relative to my older Intel Mac. More likely compatibility issues will come from plug-ins, not Live itself.
What’s new – at a glance:
Takes and comping
Edit more than one track at once (with linking)
MPE support and expressive editing (including expressive editing with Push)
A reorganized Clips view (which, weirdly, has kind of turned out to be about my favorite feature)
Note and velocity chance (essential!)
Follow Actions based on clip length
Follow Actions for Scenes
Loop non-warped clips (it’s a bit of a hack, but also thanks to the Follow Action changes)
Hybrid Reverb (a cross between convolution and algorithmic reverbs)
Spectral Resonator effect
Spectral Time (my other favorite feature – it just … is this amazing delay freeze partial … thing … )
PitchLoop89 – Robert Henke’s latest baby, a pitch shifting / delay Max for Live invention based on classic hardware
Inspired by Nature – organic Max for Live devices
New sounds and collections
There are also enhancements to Max for Live which we should talk about separately.
For more details, see the original guide I wrote in fall:
And even Push 1 and 2 benefit from expression editing, even though they’re not MPE controllers:
But here’s the deal – as is often the case with Ableton Live, it’s some of the smallest stuff that makes the biggest difference.
Reorganizing the Clips editing view and adjusting how Follow Actions work, plus adding these probability functions, is a massive improvement. Because it doesn’t disrupt what’s already there, too, it’s easy to work with straight away. So even though it’s one of the smallest changes, it may be the one that means I can’t go back to Live 10.
MPE (MIDI Polyphonic Expression) I know is still not something that makes sense to a lot of people, but I can tell you if you do plug in something like a Sensel Morph or a Polyend Medusa or a ROLI Seaboard (for the three I’ve tried), it’s wonderful to get your hands on stuff. And the expressive editing also makes working with Push richer.
What do you want to know? What are you curious to learn more about in Live 11? Where would you want to go deeper? How would you want to do that? (Twitch broadcast? Discord chat? Interpretive dance? Cyberpunk 2077 in-game battle?)
The latest version of the popular DAW will b available from Feb 23rd
Thursday, February 11, 2021 – 16:11
Ableton has announced that the latest version of their popular music-making software – Live 11 – will be available from February 23rd. Announced late last year, Live 11 has been in beta testing period since November, when we first previewed it in our First Look video below. The new version brings with it some long-awaited features such as MPE support and audio comping, as well as new devices like Hybrid Reverb and Spectral Resonator.
Ableton also added some unpredictability settings to add more randomness to your programming with Note and Velocity Chance settings for MIDI clips, Linked Tracks for group editing and Tempo Following, where Live can be sync’d to an incoming audio signal.
Bristol’s Noods Radio has launched a membership scheme.
The team behind Noods Radio, an independent station broadcasting from Bristol’s Stokes Croft founded back in 2015, have launched a new membership scheme dubbed Noods Luvers to support the station and keep it on the airwaves.
Previously reliant on merch and crowdfunding, alongside events which have been halted due to the coronavirus pandemic, Noods are asking listeners to donate as little as £3 per month to the station to “cover our bills, create more creative opportunities and keep supporting artists.”
Using the funds to employ two new team members, develop an app and website, facilitate workshops and improve the studio, Noods Luvers can make a one-off donation, or give cash to the station monthly. Donators will be updated via exlcusive newsletters, and will also receive a 20% discount off the Noods store, plus early access to tickets to any Noods events when permitted.
You can find out more about becoming a Noods Luver here.
An Avicii memorial site is being created in honor of the late Swedish producer in the Östermalm district of Stockholm, according to news published in Sweden’s daily paper Dagens Nyheter. Andréa Hedin, Östermalm’s district committee chair said she believes the dedication of the new memorial site near where Tim Bergling grew up and went to school felt obvious in consideration of Avicii’s larger-than-life contribution to Swedish music.
Klas Bergling, Avicii’s father and founder of the Tim Bergling Foundation, which is geared towards raising mental health awareness and suicide prevention, celebrated the decision by Östermalm’s district committee, saying,
“We feel honored that the district committee is taking this initiative. This place will give the opportunity to remember Tim and his music that has meant and still means so much to many people around the world.”
Currently, Östermalm’s district committee has not shared a public opening date for the new memorial site.
How do you set the mood to concentrate, especially in times of distraction and anxiety? Adjust the light, open a window to allow some air flow? Here’s a unique set of sound design tools and music to match that accomplishes that with audio.
Okay, first – I don’t know about you, but I hate the supposedly relaxing music beds that play at spas and yoga classes and whatnot. For the most part, working with music and sound and hearing actively is a gift, but when you’re meant to let your mind go…
Tonepaper is different – ambient music beds composed by an expert musician/sound designer, and a sound pack so you can build new textures however you like.
Francis Preve with his Symplesound project has been exploring for some time new ways of thinking what even defines sound packs. Tonepaper is the latest wrinkle in that concept. Like a lot of Fran’s sound design work, this gets back to the fundamentals – absolutely dead-on creations of essential elements. But that also means if you want to treat these sound packs as building blocks, you can. And Fran always delivers the 6 x 2 LEGO block, even, the thing you can build everything else out of, not the fancy “this is the outrigging of a pirate ship in space” custom part.
There are multiple levels of this project, and they all give you the power to find the dimmer and shade you want.
Tonepaper, the album. There are three hours of music here, divided into ten-minute blocks. (If you’re a Pomodoro fan like me, you can assemble three ten-minute tracks into a 25-minute work session + 5-minute break – for example.) And since for everyone I think this sort of music has a different line between refreshing, relaxing, and cheesy or annoying, you can find just the bits that appeal. And even if you don’t, of course, there are the sound packs…
Tonepaper for Ableton. Francis assembles Device Racks like no one else can – rigorously constructed with serious discipline to be easy to pull apart and modify. These require Live Suite 10 because they use the Grand Piano collection, but otherwise you’ll find custom Operator and Collision presets and smart processing.
Tonepaper for Serum. This is the one I’ve found myself getting lost in. Serum as an instrument may be associated with garish EDM or something like that, but injected with these atmospheres and textures, you can open up all kinds of new sonic ranges. It’s a wonderful tour of Serum’s physical modeling and the potential of motion, spectra, and processing.
For your ringtone: there’s even Tonepaper Rings, so you finally don’t trigger a Pavlovian panic every time your phone goes off – keep that zenlike calm you’ve just achieved.
I asked Francis for a tour of some of the track selections:
Meditation Four is soft and optimistic. Dawn on a lake?
Meditation Eight has a curious “sentimental pop” feeling. Think Brian Eno producing Peter Gabriel, mid-80s.
Meditation Nine Thoughtful, pensive, with moments of blue, quickly replaced by warmth. More obviously Eno-like with a touch of Sakamoto.
Meditation Fourteen might be the closest to ”cinematic”, thanks to the high strings and oboe-like tone. Verdant. Lush.
Meditation Eighteen closes out the album with a soft landing into FM and Physically Modeled chimes. Almost vaporwave.
I really can’t say enough about the sound packs, though. Apart from it’s nice to put on the tracks for meditation or focused writing (or really chilling out about tax and VAT paperwork), I think it’s best to understand the album as being an outgrowth of these sonic tools.
So you can easily get in an Eno-esque headspace just by calling one of them up and noodling on a MIDI controller. Or you can use them to add organic elements to a new Serum sound exploration that goes somewhere very different from anything you hear here.
And speaking of Serum – don’t miss the article below, as putting Fran’s tips together with these sound elements will take you into the stratosphere.
India Jordan, Four Tet and Floating Points are among the artists to remix Caribou for a new EP.
Alongside a brand new remix from Welsh producer Koreless, Caribou, real name Dan Snaith, has revealed details of his forthcoming ‘Suddenly Remixes’ collection.
The Canadian producer has enlisted the likes of previously announced India Jordan, Floating Point, Four Tet and Shanti Celeste for remixes on his album, with the latest additions coming in the form of Jessy Lanza, Prince Nifty, Toro Y Moi, and Koreless.
Incoming on the 12th March, and featuring 12 tracks, Snaith said that he had chosen his remixers because he is a fan of their work.
“Sometimes remixes are commissioned to be marketing tools or to make the music functional in a club,” he said in a press release, “But for me there’s only one reason to get remixes done: because I’m a giddy fan of the remixer.
“Looking down the tracklisting of this remix album, it’s a thrill to see a list of producers whose music I find so inspiring collected there – some are established artists, some are just starting out; some i messaged, begging a remix, right after coming across their music for the first time and some are dear friends whose music I’ve loved for a while – but in every case I feel very lucky to hear their music and mine connected on this remix album.”
You can pre-order the LP via bandcamp here, and listen to the latest remix from Koreless below.
Porter Robinson has shared a video for his latest single, ‘Look at the Sky’.
Having announced the first single from the LP last August, and another album track, ‘Look at the Sky’, in January, the Atlanta-born DJ and producer and has now released a brand new music video.
In the visuals for ‘Look at the Sky’, which were directed by Chris Muir, Robinson can be seen playing a piano in a room filled with green grass, surrounded by ghostly, masked figures.
Speaking about the video, Robinson said: “Sometimes when making music or art, we can think of ourselves as working alone. But that isn’t ever really the case — if I think about it, if I was raised in total isolation without exposure to culture, I would never have come up with any of the concepts of harmony, rhythm, twelve notes in a scale, the idea of chords, the idea of melody, the concept of a ‘chorus’ or ‘verse’ or ‘drum’ — much less would I be able to physically build an instrument, build a computer, or write music production software. Everything we create is, in essence, a collaboration with millions of strangers. And by creating and sharing our ideas, we’re afforded the gift of being able to contribute to this legacy. I think of the story of human creativity as this beautiful tapestry that each of us is given the very very brief opportunity to sew our own patch onto.
“The ‘Look at the Sky’ video is about the beauty I find in this cycle. where the meaning of the song is more directly about the value of hope and resilience in the face of despair, with the video, i wanted to extend the idea of ‘being alive next year’ from being literal into being a metaphor about the things we can contribute to this world that will outlast us.”
You can watch the video for ‘Look at the Sky below’. Robinson’s album, ‘Nurture’, will be released on 23rd April.