Shanghai label SVBKVLT has announced a 13-date tour of China to celebrate its eighth anniversary.
Between 26th March to 28th May, the experimental club music label will stop off in various clubs throughout the country, including TAG in Chengdu, Zhao Dai in Beijing and OIL in Shenzhen. A party at ALL Shanghai will double-up as a release party for Osheyack and Nahash’s ‘Club Apathy’ EP. The tour also marks the label’s first time throwing parties in Harbin, Changchun and Dalian. You can see the full list of tour stops and dates below.
SVBKVLT artists and DJs set to play throughout the tour include HYPH11E, 33EMYBW, Osheyack, Howell, Swimful, Zaliva-D, Alex Wang, Gooooose, Scintii and more.
The tour will finish up on 28th May at Zhao Dai On Leave, the second annual seaside festival hosted by the Beijing club crew on the beach at Aranya, Beidaihe. Playing alongside the SVBKVLT crew at the three-day festival are DJs including Slowcook, Tsuzing, Cora and HAO.
Check out the poster featuring full tour details below.
Read our 2019 feature all about how SVBKVLT is creating a bold new future for electronic and club music here. Last year, label founder Gaz Williams highlighted some of his favourite recent records for our Selections series, spanning experimental club gems and animated electronics. Check that out here.
Developers of the free open-source audio editor, Audacity, have released version 3.0.0 for Windows, macOS and Linux.
Audacity 3.0.0 is a major update. Here’s what’s the developers have to say about the new release:
“aup3 Project Format
We’ve changed the format in which we save Audacity projects! Previously we saved projects as a sometimes large number of small files, with an ‘.aup’ file to coordinate the lot. This way of doing things is sometimes called ‘pile of files’ storage.
The problem, which happened all too often, was that data files and .aup file parted ways. Users quite reasonably expected the .aup file to contain the entire project. Well, the new .aup3 file does contain the data as well. The technical detail is that we are using an open source database, SQLite3, to store everything in one .aup3 file. That all happens ‘behind the scenes’. SQLite3 is open source, and it is a delight to work with. Nevertheless, this was a huge change, and we decided it was too risky to include many other changes we wanted to make at the same time – so 3.0.0 is almost entirely about this big format change.
Working with .aup3 projects editing audio should, on most machines, be a little faster than before, because there are fewer files being worked on. Finishing and closing a project at the end of working can be quite a lot slower, since there is more to do when a project is closed. We think the trade offs are worth it.
Importantly, note that you can open your older .aup projects in Audacity 3.0.0, where they will be converted to the new .aup3 format.
Label Sounds & Noise Gate
We did have time to improve our ‘Noise Gate’ effect and add a new analyzer, ‘Label Sounds’, that can label sounds and silences. We also made a few small tweaks elsewhere. You can now import and export macros, and there are a couple of new commands for using the last used tool or last used analyzer that you can give shortcuts to.
We also fixed over 160 bugs that had been accumulating over the years. This is quite a staggering amount of work. The majority of these bugs were minor problems, easily worked around. Some though were really juicy high priority bugs that would have mattered a lot to the people affected by them. We’re really glad to have these bugs fixed now.”
Audacity 3.0.0 is available now as a free download.
Mills College – a private liberal arts and sciences college in Oakland, California – has announced that it will be closing, after conferring its final degrees in 2023.
The College had been at its current location since 1871.
Mills President Elizabeth L. Hillmansays that the decision is a result of a combination of the economic burdens of the COVID-19 pandemic, structural changes across higher education, and Mills’ declining enrollment and budget deficits.
The Center For Contemporary Music
The College is notable to the world of electronic music as the home of the Center for Contemporary Music (CCM).
CCM got its start in 1961 as the San Francisco Tape Music Center, co-founded by former Mills music students Morton Subotnick and Ramon Sender, with help from Pauline Oliveros. In 1966 the center moved to Mills College, where it was later renamed the Center for Contemporary Music.
Artists associated with the Tape Music Center or CCM include Robert Ashley, David Behrman, David Rosenboom, Laurie Anderson, Guðmundur Steinn Gunnarsson, Holly Herndon, Terry Riley, Steve Reich and many others.
The Original Buchla 100
CCM is also the home of the original Buchla 100 system.
In this 2017 Waveshaper Media video, founders Subotnick and Sender meet with Professor Maggi Payne and talk about working with Don Buchla in 1963 to create the early modular system:
You can find out more about CCM and its history at the Mills College site.
The compendium of previously released tracks will be released in May
Friday, March 19, 2021 – 18:11
KMRU will release a new album, ‘Logue’, in May via Injazero Records.
After a breakthrough year in 2020, which saw the Kenyan sound artist releasing three albums – ‘Peel’on Editions Mego, ‘Jar’ on Seil Records, and ‘Opaquer’ on Dagoretti Records – KMRU’s first official release of 2021 is a compendium of self-released tracks, which were previously available through his prolific Bandcamp page.
You can hear, ‘OT’, taken from ‘Logue’ below.
Speaking about the album, KMRU says: “Every track reflects an event, space or location. The pieces are developed from field recordings, improvisation and spontaneity.”
Read our recent interview with the Berlin-based artist, and listen to his captivating Fresh Kicks mix here.
Copyright Thrust Publishing Ltd. Permission to use quotations from this article is granted subject to appropriate credit being given to www.djmag.com as the source.
KSHMR, known offstage as Niles Hollowell-Dhar, has finally released his debut album, Harmonica Andromeda. The 14-track LP is the producer’s first project since his 2017 EP, Materia.
Hollowell-Dhar’s journey through music has been an experience like no other. As one-half of the hip-hop duo The Cataracs, KSHMR got his first taste of international success in 2010 with “Like A G6,” which hit No. 1 twice on the Billboard Hot 100. In 2013, the producer infamously became responsible for one of the most popular bigroom house songs of all time when leaked contracts credited him as a co-writer and co-producer for DVBBS and Borgeous’ “Tsunami.” The news eventually led him to leave the ghost production circuit and start the KSHMR project in 2014.
Since then, he’s made his presence felt in dance music with monumental hits such as “Scare Me,” “My Best Life,” “JAMMU,” and “Secrets,” as well as through the recent launch of Dharma Studio and his Dreamz side project. KSHMR announced his debut LP in January and released two singles from the album, “The World We Left Behind” featuring KARRA and “Around The World” with NOUMENN in the lead-up to the album. KSHMR said of the undertaking,
“The creation of Harmonica Andromeda made me fall in love with music all over again–there’s a journey in every song. It’s the most creative music I’ve ever made and the most challenging, filled with sharp turns and surprises. I hope the world loves it as much as I do.”
Harmonica Andromeda dives into KSHMR’s deep-rooted Indian heritage, with the harmonica, guitar, and flute serving as the album’s core instrumental elements. In a recent tweet, KSHMR postulated that his latest body of work may be “one of the best electronic albums of all time.” Fans will have judge for themselves whether this is true or not, but regardless, they should, at a minimum, appreciate his implementation of multicultural facets and instrumentation within modern dance music, as visualized on Harmonica Andromeda.
Miller Puckette, the original creator of Max and Pure Data, has been working on keeping connected remotely, too. In this video, he reveals how he plays with a percussionist using Pd and Ableton Live, then joins Cycling ’74’s David Zicarelli to talk about the future of collaboration in modular environments.
He works with Irwin and – this is about as overqualified a talk as you’ll ever get on this subject.
My musical collaboration with percussionist Irwin took an unplanned turn when we started working remotely. Over the past year we’ve developed a workflow that allows us to perform together in real time using instruments that I write in Pure Data but Irwin plays in Ableton Live, with audio, control, and video streams bouncing back and forth between our offices. The solutions we’ve found are interesting both in how we deal with latency limitations and also in that the distinction between environments and pluggable modules has shifted, so that an entire software environment can pretend to be a module inside a different one.
Beware, something really glitchy happens to the sound 3 minutes in, though I absolutely would watch Miller as Max Headroom. It comes back when they start to play music. Then just skip ahead to – around 11:40.
Hey, if IRCAM and Miller are struggling with audio routing it gives the rest of us permission to have screwed some things up in the past twelve months, or so I might have heard happening to someone definitely not me.
Anyway, the tools being used here are all worth a mention:
Quacktrip and Netty NcNetface are network interfaces and also run as Pd patches, so they’re ideal for quick-and-dirty Pd patching. (This also helps if you have Ableton Live but not the latest Live Suite with Max for Live.)
Irwin is using these simple but elegant, sculptural pieces of wood with piezo.
In Pd, you get two big patches. There’s a nonlinear finite delay network (basically, think tons of delays being used to turn the impulse from the percussion into acoustic-sounding timbres, and you might want to read about delays and feedback in the Pd docs). And there’s “BELLO” – a 3F algorithm used as a filterbank, which also goes back to modeling theory. I’ll ask Miller if he wants to share more on the sound design aspect at some point; it’s clear in the video he expects an IRCAM-y crowd (and even some audio processing nerds might miss some of the history or context).
That research was done by famed composer and IRCAM legend Philippe Manoury. And after some digging, I found a reference to the 3F synthesis approach Miller is talking about. It’s in French, but here you are:
Whether or not you want to go down that particular rabbit hole, though, the important fundamental concept here is working with sound, streaming that sound, and applying audio-domain modifications to it. Keep the original playing local to the musician so they don’t hear it with latency, but then add the response with latency – that’s less of an issue. It’s also a great reminder of how nice it is to work with audio signal and not only control signal.
Feel like I’ve been looking at a lot of these sorts of diagrams lately, but here you go:
Some other Pd secrets here:
FUDI is one of my favorite things ever. The basic idea is, you send messages as strings delineated as semicolons, and … that’s it, actually. Someone nicely fleshed out the Wikipedia article on it:
The joke is, it’s Fast Universal Digital Interface – which in I guess in French sounds like a cute slang term for butt? Such is my recollection.
Anyway, this is not some fancy protocol like OSC. It’s just sending the simplest possible message over the network, which is often desirable – and deliciously easy to patch even for beginners.
The other secret sauce is Camomile, which now makes it pretty easy to wrap your Pd patch as a VST – VST3 – AU – LV2 plug-in for use in another host. That includes Live (Pd for Live), but other hosts, too, obviously, including on Linux.
There is a wealth of talks and concerts on IRCAM’s channel. The two parents of Max come together – Miller plus Cycling ’74 founder and Max/MSP creator David Zicarelli for a talk on “the future of music software” and collaboration.
A new outdoor club is opening in Manchester this summer.
After a number of new venue announcements in the U.K. and Europe as some cities ready to reopen following the coronavirus pandemic, plans for a brand-new, city centre destination have been announced in Manchester.
Dubbed Square One, the venue is set to open on the 26th June with an all-day set from FUSE boss Enzo Siragusa, with Mella Dee, Denis Sulta and Hot since 82 slated for performances, as well as a showcase from Amsterdam label PIV.
Square One will open weekly from 2PM until midnight, with more parties set to be announced in the coming months.
You can sign up to access early bird tickets here, which will be on sale from 10AM tomorrow (19th March).
Welcome to Square One: The Opening Schedule. For an opportunity to win a summer pass to the open-air series @ tag three friends below and SHARE. Tickets on sale 10am tomorrow: bit.ly/SQ1_
DJ, producer and party founder Enzo Siragusa has come a long way from his early days raving in warehouses, but he’s never forgotten his roots. The man behind the renowned East London party brand FUSE opened up for a DJ Mag cover feature about how he’s grown the event into an international, musically broad-minded collective and label — and how a hardcore and jungle past still surfaces in his music today.
Seoul Community Radio has launched a new virtual gaming and exhibition platform, which aims to shine a light on the city’s underground club scene.
The platform, onit.life, launched on 17th March with its first interactive exhibition, titled ‘A Decade of Seoul Parties 2010-2020’. Until Wednesday 24th March, users will be able to explore the 3D virtual world within the platform, designed in the style of the iconic Doom video game series. In it, they will find photography, videos and other artefacts relating to the evolution of Seoul’s underground clubbing landscape over the past decade. The exhibition aims to raise awareness of the challenges being faced by the scene at the moment, particularly in the wake of COVID-19.
The platform has been designed in partnership with Korean developers Nose Studio, and each user will be able to explore within it for free for 15 minutes. On leaving the virtual world, users will be given the option to make a donation, which will go toward funding similar community-led virtual projects.
The exhibition has been soundtracked by 15 Korean artists, including DJ Bowlcut, Apachi, Yetsuby and Xannex, and will be available from next week. DJ Conan has also curated a special mix for the exhibition, celebrating the sounds that have defined the past 10 years in Seoul’s underground club culture. Photography for the exhibition comes from Korean artists Stillm45, Hansy, Kaipaparazzi, Hyunkeem, Chosen1 and Sung1.
Speaking about the project, Seoul Community Radio co-founder Richard Price said: “With the physical club scene facing a triple-threat at this time from Covid restrictions, a lack of govt financial support and negative societal perceptions, we wanted to create something that was a type of time-capsule of all the positive contributions the community has made to Korea’s reputation as a nightlife destination of note.”
Step into ‘A Decade of Seoul Parties 2010-2020’ here, or take a look at a gameplay trailer below.
Check out State Of Play, our monthly column in which Cherie Hu explores the fast-growing intersection of music and gaming, here
Expressive E shared an update on the status of their upcoming Osmose synthesizer, which is designed to be one of the most expressive keyboards ever created.
The company says that the expect the Osmose to move into mass production in June 2021, and they have also revealed a new feature, demonstrated in the video above, Pressure-Weighted Portamento.
The Osmose pairs one of the most powerful synth engines available – the EaganMatrix sound engine, found in the Haken Continuum – with a new type of piano-style expressive keyboard. As the following video demonstrates, you can play a key by striking it, like any other keyboard, but you can also use a wide range of other gestures, and the Osmose will respond expressively to them:
Pressure-Weighted Portamento is patented performance technology that lets you create a variable portamento between two notes, so that the pitch of your note can dynamically glide between two notes as the pressure of your fingers changes.
This means that you are not limited to a fixed pitch range that affects all the notes that you play, like with a standard pitch-bend wheel, but that you can create a variety of portamento effects, including: pitch slides; slow, expressive glissando; and a wide range of vibrato effects.
Osmose Production Road Map
Expressive E has also shared an updated production road map for the Osmose:
January – review of the first industrial Osmose series for quality control (completed)
February to April – preparation for manufacturing and managing the sourcing of electronic components (in process)
April to June – final industrial Osmose series quality checks, operator training
Mid-June – the Osmose moves to mass production and first shipments start
The company notes that the global electronic components industry has been disrupted by the pandemic, which means that there are still some uncertainties about their timeline.
Pricing and Availability
The Expressive E Osmose is currently in development and is expected to be available later this year for $1, 799.
UWYN has introduced CableCube, a new option for storing and organizing the 3.5mm patch cables used with Eurorack modular synthesizers.
One CableCube holds 40 cables, arranged in 8 rows of 5. It’s designed so that it can be used on your desktop, wall-mounted or attached directly to your modular case.
CableCube is the brainchild of developer Geert Bevin – the Software Engineering Lead at Moog Music. In addition to his work with Moog, Bevin has done a wide range of music-related work, ranging from co-authoring the MPE specification to developing the LinnStrument firmware to creating the gestural music software GECO.
During the pandemic, Bevin has been exploring using 3D modeling to prototype and manufacture reusable face masks.
This led to his Transparent Reusable Face Mask, a vacuum-formed mask that’s designed to not only be an excellent face mask, but also to let you use tools like Face ID, without removing your mask.
With CableCube, Bevin has focused his attention on creating a better way to organize patch cables.
“I created CableCube, since no cable management ever felt satisfactory to me. I would always end up with a bunch of cable laying around, in front or top of the modular,” he explains. “Having cables hang from the wall would always be just too far out of reach and not easy to travel with.”
The solution Bevin came up is designed to be used in multiple ways.
“If you have Moog Mother skiff, you can mount it next to it and have a comfortable extension of your synthesizer. If you want to wall mount your cables, you can still do so with the cradle and still easily snap the CableCube out with all the cables and put it back later.”
Bevin sent us one of the first CableCube cable organizers to check out, and having seen his social media posts about the development process, it’s fascinating to see the work translate into a commercial product.
The CableCube is unusual in that it is being manufactured in small quantities using 3D printing. UWYN says that it is printed in high-quality Virgin NatureWorks Ingeo Bio-PLA, with industrial-strength 3D printers.
The 3D printed design means that the cable sockets don’t need to be simple holes. Bevin designed them so that they have the same sort of ‘click’ that you get when you insert a cable into a regular socket. The CableCube sockets ‘grip’ the jack, so cables don’t fall out, even if you turn the holder upside-down.
3D printing also means that UWYN can offer a niche product in a wide range of colors:
“3D printing is quickly becoming a very viable alternative to large scale production,” Bevin told us. “It’s easy to ramp up and down and to run a farm.”
“It also allows for more flexibility in production techniques,” he adds. “This design, for instance, is not possible with injection molding.”
A downside to using 3D printing technology is that the finish of the CableCube is not as smooth as a mass-produced product. You can expect to see some lines and other artifacts from the 3D printing process.
Because of the CableCube’s manufacturing approach, we asked Bevin how well he thought the CableCube and its unique sockets would hold up to wear and tear over time. Based on his experience with previous items manufactured with 3D printing, he expects the CableCube to hold up well.
“In the last year, we have made over 3,000 PPE (Personal Protective Equipment) units that we donated. All 3D printed, masks and shields,” he notes. “And they’ve all held up great.”
One other notable aspect of the CableCube design is the inclusion of Braille labeling for people who are blind or have visual impairments.
The CableCube is an interesting alternative to patch cable hangers. Most cable hangers are designed to mount to a mic stand or the wall, and to hold hundreds of cables, and very long cables. CableCube is designed less for mass storage and more for active use, putting patch cables right next to your modular system.
CableCube is a great option for users with compact modular systems, or for users with larger systems that want desktop or system-mounted cable storage to complement an existing wall- or mic-mounted cable hanger.
Pricing and Availability.
CableCube is available now from UWYN, starting at $35 for a desktop unit.
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