Illenium is doing something a little different this time around for part of his post-album touring plans, announcing that his incoming fourth LP Fallen Embers is being taken to Cancun, Mexico for a multi-day destination festival.
Aptly labeled “Ember Shores,” Illenium’s coinciding celebration for one of Dancing Astronaut’s most-anticipated projects of 2021 will be headed south of the border on December 3 – 5 for three all-inclusive dates at the Paradisus Resort. While no lineup was revealed along with the announce, Illenium confirmed that the festival will feature a triplet of sets from himself along with a hand-picked group of names that will stand beside him. With both official and suspected album appearances from the likes of Dabin, SLANDER, Krewella, Excision, HALIENE, Nurko, and Lights, predictions that a handful of Fallen Embers features could fill in the remaining slots seem plausible.
Tickets for “Ember Shores” go on sale on April 22 at 10AM EST here.
I’m beyond excited to announce @EmberShores – my first curated destination event. Featuring 3 unique sets from me and a hand-picked lineup at the all-inclusive Paradisus Resort December 3rd-5th in Cancun, Mexico
Synth4ever has introduced Supersonic, a collection of custom sounds for the UDO Super 6 synthesizer, covering pads, leads, strings, sequences, arps, keys, textures, bass and FX.
Here’s what they have to say about the sound library:
“The Super 6 is a beautiful sounding, versatile and powerful digital/analog hybrid synth, and I tried to push it in new directions when creating many of these patches using firmware v0.26. In addition to traditional “bread and butter” sounds, this UDO Super 6 soundset also includes some experimental motion loops, generative soundscapes and texture-based approaches to sound design.
These 64 custom patches will install to user banks A-H on your UDO SUPER 6, and nearly all contain tasteful aftertouch and pitch bend (positive and negative) modulation assignments. This gives you additional expression and timbre possibilities within the patch itself – so be sure to experiment with these controllers!
Overall, I’m proud of the SUPERSONIC soundset and believe it covers a lot of interesting sonic territory for musicians and listeners alike. Thanks for your interest in and support of my work; I hope you enjoy exploring and performing with these patches on your UDO Super 6 as much as I do on mine, should you wish to acquire them.”
All sounds in this video are from UDO Super 6 w/ no external effects, compression or mastering.
Skrillex and JOYRYDE don’t hand out co-signs to just anybody, so Russian-born producer DIIIVA was indisputably doing something right to earn two acknowledgements from the respective heavyweights. After embarking on a three-month learning session with the latter to meticulously craft her sound and brand, DIIIVA is joining the release ring for the first time in nearly a year with a take on Ty Dolla $ign, Skrillex, FKA twigs, and Kanye West‘s “Ego Death.”
DIIIVA pushes “Ego Death” in an entirely exhilarating and inspired direction, likely only scratching the surface of her untapped potential within the electronic space. While still wholly preserving the original’s galvanic club feel, DIIIVA flips “Ego Death” upside down, upgrading the A-list grouping into a kinetic, genre-less remodel. Both DIIIVA and JOYRYDE both shared messages behind the remix and their time seamlessly bouncing ideas off of each other. Says DIIIVA,
“2020 was transformational for me as I feel I was finally able to let go of old habits standing in my way, and could finally focus on what I want to create and who I really am. During this time I started the ‘Ego Death’ remix and spent time working in the studio with JOYRYDE. The remix went through a few versions until it sounded exactly right to both of us. I’m super excited it’s finally out and can’t wait to release more music this year.”
Additionally, JOYRYDE shares,
“It’s very easy for artists to become attracted to the wrong things in this world but to see when they are attracted towards discovery and fun always reminds me why I’m so grateful to be an artist. [DIIIVA]’s music and the way she behaves with it are just refreshing to me. It’s amazing to watch someone living in their most natural setting and do it so well.”
277 ticket holders should see payouts from the $2 million agreement
DJ Mag Staff
Monday, April 19, 2021 – 13:00
Fyre Festival ticket holders are expected to get $7,226 as part of a class action settlement.
Nearly five years after the first — and last — Fyre Festival event went disastrously wrong, ticket holders are expected to recieve payouts as a result of the $2million class action lawsuit brought against organiser Billy McFarland.
The class action agreement was reached last Tuesday (13th) — subject to approval and changes — and would see 277 ticket holders recieve $7,226 (£5,226).
Fyre Festival will go down as one of the the most disastrous festivals in history, after party-goers who paid thousands of dollars for tickets were left stranded on a private island in the Bahamas in 2017. Reportedly housed in “refugee” grade tents and given only basic food, the festival was met with a barrage of negitive publicity as disappointed festival-goers flocked to Twitter and Instagram to express their distain.
While Billy McFarland remains in federal prison, in July last year, Judge Kevin Castle ruled that festival co-founder Ja Rule, and Fyre’s head of marketing Grant Margolin, would not be liable for the festival falling apart.
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Excision has been putting in work over the last year, tirelessly forging forward with his newly minted imprint, Subsidia Records. Since 2020, Subsidia has been slowly rolling out three impeccable volumes of their three compilation albums, Dusk, Dawn, and Night. This time, fans welcome the release of their melodic bass excursion, Dawn: Vol. 3.
The newest development in the Dawn series offers outputs from up-and-coming artists including Cyrus Gold, FOCUSS, and Noya, all of which have been featured on previous Subsidia compilation releases. Just when fans thought Excision couldn’t unleash any more low end madness, Dawn Vol. 3 proves doubters wrong with a a collection of enchanting vocals matched with top-notch production standards across 18 tracks. Listen below.
Just one year after Massane’s “hello world” opening statement, the emerging Frenchman decided that leveling up from an EP trilogy in 2020 to his debut LP the following year was in order. The choice was clear; the album’s only possible destination spot would be where it all began—Lane 8′s imprint, This Never Happened. On top of the announcement of Another Dawn, scheduled for June 4, and its 11-part tracklist, Massane offers his LP’s introductory single and title number with the help of UK vocalist Kinnship.
Turning back the clock to March, This Never Happened helmer Lane 8’s “Spring 2021 Mixtape” set the wheels in motion for Another Dawn, yielding a triplet of album pieces that not only included its eponymous extension but also “Novae” and “Take That Leap.” There’s no ambiguity as to why Massane designated “Another Dawn” to serve as the first inside look at his impending his debut album, with Kinnship’s stress-relieving lyrics sitting above a delicately crafted body of soothing melodic house.
Stream the title track to Massane’s LP below and pre-save Another Dawnhere.
A lot of the solutions you’ll see for “collaborating” involve live jamming – even though that’s not always what you want. Splice Studio is a free way to keep a project backed up and synced, which is useful solo but absolutely indispensable when working with others.
The idea is this – a common way of collaborating between two or more people is to pass around a single session file from a DAW. That means you need to keep track of different versions and changes and be able to open an earlier version in case someone makes a mistake, does something you don’t like, or you just want to refer back to an earlier iteration. It’s what’s called version control, and it’s also a great form of backup.
Since backing up files and keeping track of changes is useful solo, that is also a use case – though it’s less demanding than when other people are involved. You could theoretically use the same version control solutions developers do with software. (I’m playing now with Plastic SCM which may work as a nerdier solution, but I’ll talk about that another time.)
The advantage of Splice Studio is, it’s already aware of particular project types out of the box. That means it can display more helpful information – even showing you track names, simple visualizations, and which plug-ins were used. (A competing tool called Gobbler did something like this, but they’ve largely pivoted to focus mainly on their plug-in subscriptions, and Splice always had the most features.)
I actually find it’s just as easy to ignore Splice’s plug-in management tools, and go ahead and bounce audio rather than concern myself with syncing up plug-ins. That’s not just a practical concern – though yes it gets you away from worrying which license people have. It’s also a good way to commit to decisions. A widely-known way of tricking yourself into completing tracks is to go ahead and regularly record audio. It avoids confusion, lost parameters, and generally makes producing a little more like live playing.
The great thing about Splice Studio is – it’s free, and it (mostly) works well, with a range of different tools. Nothing against Splice’s other offerings – yes, there are hooks to try out samples and sound packs or subscribe to plug-ins. And maybe even a plug-in subscription is a good way to sync up more involved collaborations. But I think Splice Studio is good enough to talk about on its own.
You’ll find Studio listed on the Splice menu bar – that’s the sync-up tool.
You need a Splice account to use Splice Studio, but that’s it – and there’s really no nagging; you won’t even see the options for soundware and plug-ins unless you open the hamburger menu on the upper left-hand corner.
The DAW support is focused on a handful of tools, but hits a lot of the most popular choices:
Apple Logic Pro X and GarageBand
PreSonus Studio One
I’m a little sad Reaper and Reason Studios don’t make the cut, as they’re also popular for this sort of thing, but you can always share stems (and I’ll look at how to do something like this for other tools and OSes separately).
There’s a Splice app for Mac and Windows, which has a handy pop-up menu that shows you projects with the latest versions. You can also quickly write in revisions when you commit – erm, when you save projects.
Really the biggest limitation of Splice is that synced projects need to be in the Splice project folder. You can move that location (Gear icon/Preferences > Splice Folder), but you can’t use more than one location at a time.
That said, the whole package is free, and you have free unlimited storage forever.
A lot of collaboration tools make some annoying assumptions – they think you want to do everything real-time, they think you want to switch tools, they believe you have a really great connection at home and in the studio (as opposed to the crap bandwidth we have in reality), and they think you want to share everything publicly for some reason.
Splice Studio does none of these things. Your project is private by default, and you just add users. It uploads when you save, you download, and you go.
Now, not all of that works perfectly every time. You do have do a little coordination to make sure you aren’t simultaneously working on the same project – my friend and I were chatting back and forth on Telegram. But that’s pleasant enough anyway, and something you normally do when collaborating. (You still won’t overwrite changes – that’s the advantage of version control.)
Very occasionally you may hit a glitch – for some reason, my colleague just found some orphaned freeze files – but the backup and version control tend to work very well. (I’m checking up on that freeze issue and will update this story.)
I’m curious who else is using this tool and if you have some tips. And I’m very curious if folks are trying some general-purpose version control for the same job.
But all said, it’s hard to beat Splice’s free unlimited storage and DAW compatibility. It’s a must with these DAWs, for sure. There are so many cases that to me really fit this kind of tool – checking mixes, providing remix sessions, distance collaboration, and so on.
Check it out, and we’ll keep those kinds of collaboration ideas coming. Berlin is awaiting new lockdowns and pretty much nowhere is able to travel and gig, so now is an ideal time to finish some music and share that process with others.
The EP will be released via de Witte’s KNTXT imprint
DJ Mag Staff
Monday, April 19, 2021 – 16:40
Charlotte de Witte has announced a new EP.
The belgian techno DJ, producer and label boss, who released her last EP, ‘Rave On Time’, in September last year has announced a new three-track EP titled ‘Formula’, incoming via her own KNTXT imprint.
“I’ve always been fascinated by the high adrenaline racing world,” de Witte says on the EP. “Rapid movements, living in the moment, racing through life, eyes on the future. As far as concepts go for an ep, this is one of my favourite ones so far.”
Let Yotto take your breath away with this brand new “Renaissance” remix of Power Circle’s “Garden Of Peace.” The calmative track features whispering vocals and hypnotizing synths that wash over listeners. Flowing through speakers, “Garden Of Peace” creates a soundscape to perfectly match its name, humming vocals dancing over the euphoric trance-inspired sounds. Reach for this one