Developer Paul Carter has introduced Hyperion, a new software synth plugin for Windows and Mac that features multiple synthesis types, flexible patching, and up to 10 layers of polyphonic sounds, with individual key and velocity zones, pitch bend ranges, tuning, arpeggiator and individual per-layer effects.
Modular audio nodes cover classic oscillators, with wave-shaping and unison detunes with stereo spreading, wave-sequencing oscillators, 4 operator FM, wave-sequenced FM, a plucked string model, a flute model, sample playback, and sound-fonts (multi-samples).
Multiple kinds of filters, distortions and bus effects, as well as logic & math nodes for generative patch design.
Patches can have an unlimited number of nodes, and node control inputs can have multiple modulation sources allowing extremely complex modulations.
Auxiliary effect buses allow to send audio between layers, and control data and MIDI notes can also be sent from one layer to another allowing for deep modulation.
The number of sound processing elements is limited only by the available CPU power.
Pricing and Availability
Hyperion is available now, with an intro price of $99. A demo version is also available.
Kampire and Darlyne have launched a fundraising team for a new arts space in Kampala.
Electronic artists Kampire and Darlyne, who are key players in Kampala’s Nyege Nyege collective, have launched a fundraising team as part of 32° East Ugandan Arts Trust’s #32BreaksGround campaign. The duo will also play in-person and virtual DJ sets in Kampala on the 2nd April as part of the campaign.
Aiming to raise $200,000 between the 16th March and 16th April, the #32BreaksGround campaign will support Phase 2 of a new, purpose-built contemporary art centre in Kampala. Phase 1 of the fundraising saw donors and pro-bono architectural services from New Makers Bureau design three artists’ studios, a library, and a café.
Speaking about Phase 2, 32° East said: “We have ambitions for a centre that is financially resilient, that gives artists access to more opportunities to thrive, and introduces new audiences to transformative art.”
Phase 2 will include the construction of three aditional artists’ studios, a learning centre and library, a purpose-built public art gallery, accomodation for visiting artists, and an art shop.
You can donate via Kampire and Darlyne’s Team Bunu Bop’s fundraising page here, and read more about Phase 2 of the campaign, which has raised over $8000, here.
The first instalment of the EP series, ‘Metamorfosi Remixes Vol. 1′, will be released next month, and features remixes from Detroit’s DJ Stingray, Frank Wiedemann & Toto Chiavetta, and OXIA. Further releases incoming later this year are set to include reimaginations from Brazilian DJ and producer ANNA, techno favourite Carl Cox, and Dave Clarke, as well as Mathew Jonson and Masters At Work.
Sinevibes has released Luminance 2, a major update to their shimmer reverb effect for macOS.
The update introduces extended ranges for the parameters, allowing a greater range of effects; improved stereo imaging; VST3 support; and more.
Here’s what they have to say about it:
“Luminance is a plugin for creating “shimmer reverb” effects – unreal acoustic space simulations which gradually pitch-shift the reverberation tail upwards or downwards.
It is a novel take on this highly coveted effect, based on a modern feedback delay network design with a built-in granular pitch shifter, and featuring many original tricks such as alternating-phase time scale modulation.
Thanks to the unique, meticulously executed tuning of its individual components, Luminance possesses a fresh and highly musical character: it smoothly follows the original melodic content and creates a gorgeously beautiful background sound layer reminiscent of a dreamy symphony of strings or pipe organs – with organic depth and expansive stereo field.”
Pricing and Availability:
Luminance v2 is available now for $39; upgrade pricing is also available.
Two years after his last release on Monstercat, label veteran Trivecta returns with a nostalgia-drenched progressive house offering, “Ghost in the Machine.” Trivecta’s latest combines pop-inspired vocals with the classic progressive sound of the mid-2010’s for a track that should draw in old school fans and the new generation. Trivecta is known best for melodic dubstep and trance, so the switch to progressive is significant, as he describes:
“This song is a callback to some of the progressive house tunes I put out with Monstercat in my early years. It’s reminiscent of a time that was super energetic and inspiring for me, so it was a blast to make.”
“Ghost in the Machine” is Trivecta‘s second single of 2021 following his recent dubstep cut “Twilight Of The Gods.” It join’s Monstercat’s ever-growing 2021 release list alongside Bleu Clair‘s eclectic house single “The Tempo” and REAPER’s enormous remix of Koven’s “Shut My Mouth.” Additionally, Monstercat recently acquire Silk Music to form the third label under its umbrella, Monstercat Silk.
Vinyl, then digital… now meet meta-DJing. OÍR by Moisés Horta Valenzuela imagines what would happen if one machine learning-powered DJ set could combine all those DJ sets streaming out of Berlin. And what happens? It slaps. It slaps so hard that someone asks for a track ID.
The receding tile walls. The DJ or DJs centered at the decks. Green and blue light. In a sense, HÖR, the Berlin streaming platform, was already algorithmic – taking over YouTube feeds and related social media posts as a parade of Berlin scenesters appeared almost as if they themselves were generated. (Disclosure: I played one in December 2019. Seems everyone does.)
That might explain why Moises’ work struck a nerve – unreal, trippy, yet also oozing just the vibe and groove you’d expect if you could somehow watch all HÖR videos at once. So this went viral – and I think his term “meta-DJing” is dead on:
Okay, let’s get this out of the way – no one should describe this as an “AI DJ.” There is no autonomous machine intelligence acting as a DJ. On the contrary, the mushy digital mash-up textures on offer here are unique, fresh, and distinctively sound like something that came from Moisés. Part analysis, part generative artwork, part creative remix, OÍR is simultaneously the intentional work of an artist and a machine reflection of a wide variety of streamed DJ sets.
Technically speaking, says Moisés, “the system is a compendium of OpenAI’s Jukebox, trained from scratch, StyleGAN2 for visuals.” “The mixing and DJ ‘transitions’ are done with a MIR [Music InformatioN Retrieval] ‘automatic mixing’ Python script,” he says.
But it’s worthwhile also understanding his artistic intention:
OÍR stems from my ongoing research on AI, sound synthesis, and electronic music.
Since starting my adventure into Deep Learning systems for music a couple of years ago, I’ve asked myself if Deep Learning (AI) is a tool or a medium? Right now I’ve come to the conclusion that it can be both, and this is what exactly I’m trying to explore with this project.
When we talk about Deep Learning as medium, there are three particular processes engaged when working with generative systems: curation of the data, training and monitoring of the algorithm as it ‘learns,’ and generating new synthetic media. Rinse and repeat.
There are a couple of aspects that interest me from this process. Each time you train the AI algorithm, its weights and biases or what it has ‘learned’ change over time — depending on the data you are having it learn from. The algorithm generates patterns present in these vast amounts of images and music, as is the case of OÍR, and these can be changing as the ‘learning’ process continues.
So this quality of a constantly changing and morphing generative algorithm is exactly what I want to explore with OÍR, and what better way to do it than though electronic dance music and techno culture.
I chose a channel as the canvas for the first episode, or EPOCH, of OÍR with a selection from the archive from HÖR Berlin, because I feel this channel has done the amazing job of generating a collective culture, specifically within techno and electronic music. I wanted to explore which patterns are emerging from this culture – which patterns can be synthesized, both visual and sonic, from all these sets and different approximations of techno, over 1,400+ hours and counting.
My desire with this art project is not to automatize or replace DJ’s or electronic musicians in any way, but rather have OÍR be a sort of ‘live generative archive’, as I did before with my album 𝕺𝖐𝖆𝖈𝖍𝖎𝖍𝖚𝖆𝖑𝖎 in relation to the Mexican 3ball electronic music genre, of certain cultural moments in electronic music which are increasingly existing on big tech platforms and the internet. By the way, OÍR means “to listen” in Spanish.
You could, and many developers do, automate DJing using algorithms and machine learning – track selection, mixing, and whatnot. But those are no fun. They remove context from what a DJ does, which is kind of the essence of what a DJ does – and why it’s been hard to be a DJ during a pandemic. And aside from that, they remove the thrill from the act of DJing. You could write an algorithm to play your Nintendo Switch for you, too, but … why?
What’s exciting about this is that it does something more in the tradition of DJing – it appropriates and abuses a technology intended for predictable playback, and uses it to transform culture. And even as machines choose what we see online, this really re-centers the human – it’s Moisés using the AI tools that conduct social media bending them to his own personal artistic creativity.
It really is DJing with the AI, in the way that DJing was already a meta-activity (playing records or digital music files).
I’m curious to see what happens next. Meanwhile, you can see more Hexorcismos from the CDM archives:
In recent months, Cercle and grandeur have become synonymous, and Bob Moses‘ March 22 live set at Los Angeles’ Griffith Observatory only further underscored their relationality. Bathed in the gold tint of the setting Californian sun, the Canadian duo and its indie-inflected sound washed over the observatory’s lawn as the copper domes of the 27,000-square foot structure gleamed.
Across a contemplative one-hour and 34-minute stretch, Tom Howie and Jimmy Vallance privileged tracklistings from their fourth long-form, 2020’s Desire. Rife with Moses material, the scenic stint made choice admissions, permitting originals from Durante and Lane 8, among a select number of other creators, to filter into the sonic frame. At stream’s end, Howie and Vallance left their instruments sitting idle to take questions, giving viewers a glimpse at the creative motivations behind their sound before Cercle closed the curtain on yet another picturesque affair. View Bob Moses’ livestream in full here.
The Shuttered Venue Operators Grant (SVOG) is offering $16 billion in funding to live venues, museums, theaters, and other entertainment spaces that have remained closed due to the ongoing COVID-19 pandemic.
Applications for relief grants will be available via the Small Business Administration (SBA) website on April 8. SBA Administer Isabella Casillas Guzman said,
“Help is here for venue operators hit hard by the COVID-19 pandemic. The SBA has worked diligently to build the Shuttered Venue Operators Grant program from the ground up to assist and address the diverse eligibility requirements of each type of applicant and we will open for applications on April 8.”
Eligible venues may receive up to 45% of their pre-pandemic revenue, with a maximum single grant capping at $10 million. $2 billion of the fund is reserved for venues with more than 50 employees.
In order to be eligible for the grant, venues must first register through the System for Award Management (SAM) website. Some eligibility requirements include that venues must have been operational no later than February 29, 2020, and had a 25% or greater reduction in revenue over the course of the pandemic. On March 30, the SBA will explain the application process during an informational webinar.
The SVOG passed through Congress in December as part of a $900 billion stimulus package. An additional $1.25 billion was allocated to the SVOG earlier this month after President Joe Biden passed the American Rescue Plan, allowing music venues to apply for Payroll Protection Plans (PPP) loans up until March 31.
Legends remixing legends. After nearly two years of silence, NERO have broken their quietude with an unofficial edit of their heroes—Daft Punk.
When Daft Punk announced their split in February, the UK trio announced intentions for a remix and thanked the robots, stating, “Thank you for all the memories, inspiration and emotion.” It seems only apropos for their tribute edit to be from 2005’s Human After All—”Emotion.”
In their tribute to the legendary duo, NERO imbue “Emotion” with an equally emotive swirl of synths built on the foundation of the nu-disco original. The edit feels almost melancholic, a dreary farewell to one of the most influential acts of all time and a welcome return from the dubstep icons.
Check out the unofficial edit exclusively on Audius.
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