A continuation of ‘You Could Be’, rooted in the club sounds of Britain and the US
Wednesday, September 22, 2021 – 14:34
Anz has shared new single, ‘Real Enough to Feel Good’, taken from her forthcoming Ninja Tune debut, the ‘All Hours’ EP, which will arrive on 15th October.
As the Manchester-based DJ and producer explains, the new track is rooted in the broken club sounds of Britain and the US, and follows the recent hit ‘You Could Be’, which featured London vocalist George Riley and is also included on the forthcoming six-track release.
“‘Real Enough To Feel Good’ was the first new track I made for ‘All Hours’, built as a direct continuation from ‘You Could Be’. With the 24 hour concept fully front of mind, I tried to make something sleek and bouncy for the evening with nods to Baltimore Club, and of course UK Garage — the genre I listen to every time I’m getting ready to go out.”
In March, Anz launched her own label, OTMI, with her first official release since 2020’s Hessle Audio outing, ‘Loos in Twos (NRG)’. Last December she won the Breakthrough DJ category at DJ Mag’s Best of British Awards.
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.
A new record store, Ergot Records, has opened in Manhattan’s East Village, New York, run by the label of the same name.
The shop is located at 32 E. 2nd Street, and will open Wednesday to Saturday, with Sundays limited to appointments only. Specialising in secondhand vinyl and cassettes, the focus is on house, disco, minimalism, avant-garde, punk, and records from visual artists, while in-store events will also be regularly programmed. In time the offering will expand to new releases, books, and more.
“By opening in a neighborhood that once overflowed with vinyl delights and keeping the shop spacious enough for performances, mixing sessions, and other events, I hope to help keep the energies of these vital cultures flowing,” said founder Adrian Rew.
Last week, data from the Recording Industry Association of America (RIAA) showed that vinyl revenue in the US grew by 94% during the first half of 2021, jumping to a value of $467million. Meanwhile, in July New York’s Nightlife Advisory Council made a number of recommendations, including reforming restrictions on public dancing, and legalising drinking in parks. Earlier in the summer a separate report proposed the creation of new 24-hour nightlife districts in the Big Apple, inspired by Berlin and Amsterdam.
KHX05 has shared a collection of remixes from their ‘BLXCK KXT’ EP on Suzi Analogue’s Never Normal Records. Check it out below.
‘BLXCK KXT REMIX EP’ features contributions from Iron Dylan, Awful Records’ Lord Naff, House of Labeija’s Rozay Labeija, GHOZT and Never Normal/Teklife affiliate Heavee. Each of the five remixers puts their own distinctive spin on KHX05’s (pronounced Chaos) raw and experimental rap tracks, in which their lyrics tell stories of their trans experience.
A video for Rozay Labeija’s remix of ‘Edna Mode’ has also been released, in which both artists are seen performing alongside dancers Coco Kinston and Luna. Check it out below.
KHX05 is one of the newest members of Never Normal Records, which Suzi Analogue described as a “collective that is intended to use creativity to help determine the evolution and positivity of Black futures,” in a recent DJ Mag interview. “It’s a space for artists to come together, share and learn,” she said.
KHX05 is a a queer/trans rapper and multi-disciplinary artist based in Durham, North Carolina with Gullah-Geechee cultural roots. In an interview with Never Normal, they said: “I’m here to fuck shit up. I’m already in hell and there’s nowhere to go but up.”
‘BLXCK KXT REMIX EP’ is available on Bandcamp and all streaming services here.
NUZB is truly sitting in a class of his very own when it comes to names that are single-handedly dominating STMPD RCRDS’ release card in the year of 2021. After chugging the RetroFuture train forward on both his self-branded genre’s eponymous EP as well as Stay By Me & Hot Sauce, one of Brazil’s finest house products is continuing to dump gasoline on his unremitting blitz, returning with yet another A-side and B-side EP, Late Night & Walkaway.
Following in line with the framework that he’s taken on his growing list of prior STMPD RCRDS EPs, NUZB’s latest double showing steps into two distinctive corners of RetroFuture once more. With “Late Night,” NUZB calls in fellow label teammate Malarkey to hit the nail on the track title’s head and striking an after-hours chord all before standing by his lonesome on the EP’s lighter latter cut “Walkaway” to continue to perfect his one-of-a-kind house autonomy.
Transport yourself to 1983. Sure, analog emulation is all the rage. But leave it to Plogue to do bit-for-bit digital recreation – with a precise reproduction of the Yamaha 6-operator FM synth range, including the legendary FM7.
Meet the Chipsynth OPS7.
This may sound bonkers. Okay, it is realistically bonkers. But it’s also worth saying, the DX7 and its ilk from Yamaha have taken on a different meaning to our 2021 selves than the machines’ 1980s users. In the mid-80s, the Yamaha keyboards were perfect preset machines, clean and digital and predictable, and the analog devices that came before them were junk.
Now, we’ve all become more cyborg-like in our music machine tastes. Sounds that were unacceptable in the 80s sound deliciously edgy to our more adventurous modern ears. So the OPS7 mimics every detail. We’re no longer afraid of the algorithms inside, and we have computer screens to use as editors, so in place of Yamaha’s horrible diagrams and black-box “we don’t need knobs” design, you get a new dynamic patch editing system that lets you dig into every detail.
But maybe in the 2020s, musicians are also growing more interested in the eccentricities of the originals – call it digital antique. So the Chipsynth OPS7 has stuff that other FM plug-ins largely ignored:
Note-to-note variations in envelope stepping patterns
Weird pitch calculation
“Identical operator math for each algorithm down to the bit”
Unique compander (dynamic processing)
Full analog filtering emulation (since this portion of the Yamaha FM line’s output stage was in fact analog – from the manual “Filtering: Selects the output filter being emulated. The original synth has a filter at 16khz but different modeled keyboards have slight variations.”)
The crunch original DAC (the ‘A’ in DAC of course being analog, too…)
Multi-layer system as seen in the ultra-luxury DX1 and DX5
And there are absolutely no samples.
Plus since it is bit-for-bit accurate, you can play the 6-op patch banks from the original Yamaha DX line and their SysEx bank file support and even full hardware SysEx interfacing.
Listen to the wonderful music coming out of this thing:
To be perfectly frank, I hadn’t really taken into account how much unlike the DX7 and siblings the plug-ins sound until I heard Plogue’s offering. Suddenly, you realize how much of the Yamaha sound is here. No one has done this – not Yamaha themselves, even. (KORG’s volca fm actually came closest, if in its own idiosyncratic volca-ish way.)
There’s also NKS support for Native Instruments’ stuff. Frankly, it’s a better FM synth than NI’s own FM8; I wish it ran on Maschine+, too. (Collab, perhaps?)
Runs on all 64-bit versions and standalone. Hey, David, please support Linux! Would be great to see this on a dedicated box.
It’s not just your imagination that this sounds like the original. You know, I always thought this was some kind of psychological impact of seeing that dusty-brown original keyboard that made an DX7 sound the way it does. It’s not. Plogue really nailed the sound.
And this opens up other possibilities. I remember weird granular synthesis creations on the TX816 by Gary Lee Nelson. Now it’s possible to actually reproduce those with all the weird edges of the original Yamaha hardware.
Roughly fifty bucks / fifty EUR with VAT. That’s better than you’ll do on the used market, for sure.
And yes, that means we got a new Yamaha and a new Ensoniq in the same week. More on Arturia’s entry shortly – and I have both to play with, so now as I recover from Superbooth, I better get busy in the studio. Good night; see you… later.
Disclosure have been confirmed for the next instalment in !K7’s DJ-Kicks mix series, which will land on 15th October.
The announcement comes in the wake of the duo’s recent five-track EP, ‘Never Enough‘, and headline shows at Reading, Leeds, and Parklife festivals in the UK this summer.
Two exclusive new tracks appear on the forthcoming compilation, ‘Deep Sea’ and ‘Observer Effect’, the latter of which has already been unveiled. Elsewhere, productions from East End Dubs, Slum Science, &on&on, and Harry Wolfman also feature. As does Arfa x Joe’s jungle-infused ‘Recognise’, a tune that was sourced from Disclosure’s own Discord community.
“Most of the mix is presenting what you can do with house,” said Disclosure’s Guy Lawrence. “And that’s basically our career: trying to move house forward, whether it’s with songwriting or using different genres or different languages. The mix should represent where we’re at now, and where we’re at now is clubby.
“Our last album, ‘ENERGY’, which is just a year old, it’s all club bangers. So that’s what the majority of the mix is going to be: still exploring all these different textures,” he continues. I like to think the mix resembles a lot of energy, in terms of texture and how it flows. It’s sitting alongside ‘ENERGY’ as a companion.”
Disclosure’s ‘My High’, which features on ‘ENERGY’, was nominated for Best Dance Recording at the 2021 GRAMMY Awards. The usual January ceremony was postponed as a result of the coronavirus pandemic. Listen to ‘Observer Effect’, taken from the new DJ-Kicks mix, below.
Disclosure ‘DJ-Kicks’ Digital / CD Tracklist
1. Pépe – Recollection 2. Harry Wolfman – LOTF (exclusive) 3. Cleanfield – Conflict With Clayton 4. Disclosure – Deep Sea (exclusive) 5. Simon Hinter – Wanna Make Love 6. &on&on – Don’t Say a Word 7. M-High – Harmony In The Distance 8. Slum Science – Mezmerized 9. Disclosure – Observer Effect (exclusive) 10. East End Dubs – bRave 11. Onipa – Fire (Edit)(exclusive) 12. Arfa x Joe – Recognise (exclusive)
Hyperdub is celebrating its Ø events with the launch of a new book, ‘Zero’, which is the first to come from the label’s new publishing imprint, Flatlines Press, and is set for release on 12th October.
Events were held at Corsica Studios and ran from January 2017 until March 2020. During that time a broad range of artists appeared, from roster stalwarts to special guests like Björk, KG, Slikback, Laurel Halo, and recent DJ Mag cover star DJ Lag.
Curated by label boss Kode 9 and Shannen SP, the two-room dates saw live performances and DJ sets in one part of the club, and striking installations and art pieces in another, conceived by graphic artist and regular Hyperdub collaborator, Manuel Sepulveda, AKA Optigram, who was also behind the look of the flyers and logo.
The book, also designed by Sepulveda, is described as a “time capsule”, charting all 36 Ø events. Between its covers, you’ll find a wealth of colour photos from each of the original dates, abstracts, artist biographies, creative writing, and a full flyer archive. Profits from sales will go to Latin Elephant, a charity working to help traders, migrant, and ethnic communities displaced by gentrification in the south London district of Elephant & Castle.
Earlier this month Lee Gamble concluded his Flush Real Pharynx trilogy of work for Hyperdub with the release of ‘A Million Pieces of You’. Loraine James also dropped her second album for the label, ‘Reflection’, in June.
Revisit DJ Mag’s 2019 cover feature with Hyperdub here.
Apple is filling in a key piece in the Spatial Audio puzzle – tracking the position of your head through the company’s headphones for more realistic immersion.
Spatial Audio is already popular just weeks after launch on Apple Music, backed by a full-court press from Apple themselves on their own platforms and in the media. Spatial Audio plays are reportedly growing 20 times faster than normal plays, reaching some 40 million Apple Music listeners. You’d expect a spike when the tech is new, but it still says folks are interested.
All in your head
But plays aside, does it actually sound as immersive as advertised? Well, there’s the first problem. Playback of formats like Dolby Atmos really benefits from carefully positioned speakers located all around you. That’s of course the advantage cinema has – you walk into a space where the speakers are already positioned and calibrated. You might not need thirteen speakers as in an Atmos cinema rig – for music, four is actually not a bad number. But for headphone listening, you run into an age-old problem. Headphone spatialization would work perfectly if we all had the same head and ears. But we don’t, which means that the quality of the effect is going to be crude until someone works out easy calibration for consumers.
That’s why I think head tracking matters. Assuming you’re in a location with any ambient sounds, if you have even basic hearing sensitivity in both ears, you can prove this to yourself. Close your eyes, and listen for a particular sound – dog barking, car, fly buzzing, whatever – and try to imagine where it is. Now cock your head slightly. It’s easier to hear where that sound is, right? What researchers will tell us is that slightly re-orienting your head almost instantly helps you to perceive positioning more clearly. (Science!)
So this makes head tracking really important. On one level, it will allow the positions of sound objects in space to stay in place when you move your head, as if they’re really there – just as if a band or orchestra were playing on a stage, for instance. And that already opens up cool creative possibilities and a reason to use the format. But on another level, it should immediately deepen the perception of Spatial Audio tracks over others.
This kind of immersive sound is also related to any push into virtual reality, augmented reality, or mixed reality – so related to Apple’s larger strategy.
Apple is really out ahead of the curve on this as the first streaming service to offer the technology. And they’re also unique in that they’re a company with a streaming service and a phone and headphones and a computer platform and music production software (Apple Music, iPhone, AirPods Pro and AirPods Max, the Mac and iPad, Logic Pro and GarageBand – phew). Google and Facebook and Amazon come closest of their competitors, and you can bet they’ll try similar, but Apple’s inclusion of us – the folks actually making and mixing the music – may ultimately be the deciding factor in making this interesting. So I do expect you’ll see other streaming services follow suit, but the combinations of tools for authoring and playback will likely be more complicated.
The playback picture
For now, Spatial Audio with head tracking is very limited, though requires essentially zero effort to set up if you’ve got the hardware. (Apple calls the tech “dynamic head-tracking,” which seems redundant – I’m not sure what nondynamic head tracking would be. But okay, sure. Probably not the worst jargon in immersive audio ever.)
You need either Apple’s AirPods Pro or over-the-ear AirPods Max. AirPods Pro already works really well from a head-tracking standpoint, and they’re the ones you most likely already own. I’m eager to try the Max to actually hear the music, as the earbuds just can’t provide the sense of scale of soundstage over-ear headphones can. (I’ve talked to researchers using the AirPods pro just for the tracking feature, actually, which is accessible through the iOS SDKs.)
And you need iOS 15, out right now – so it’s time to plug in your iPhone or iPad and stop dismissing that update prompt!
Once you have that combo, Spatial Audio and dynamic head-tracking are on by default, unless you switch them off.
My headphones, my choice
Speaking of which, you’ll have easy(-ish) ways to toggle this on and off, which is good. If you’re like me, you’re annoyed by hearing some music that sounds better as mono even in stereo. (“Wouldn’t it be nice,” anyone? Even Brian Wilson couldn’t convince me otherwise.)
Spatial Audio can be toggled on and off with the Control Center in iOS 15 (that pop-up where you go to switch brightness and airplane mode etc.):
Head tracking seems to also be on by default, and so far I can’t work out how to toggle it from the Control Center if it’s possible. It appears Apple has put this inside Settings > Accessibility > AirPods:
If music supports Spatial Audio – as in the music itself is encoded as Dolby Atmos Music for Apple Music – you’ll hear the multichannel mix spatialized wherever the mix engineer decided to put the sounds. (Whether they made that decision wisely is a discussion for another time – it’s clear some music engineers understand and have experience with spatialization, and some in the music world simply do not. Cinema has a long head start on this, obviously – music went stereo in the 1930s and hasn’t really progressed widely beyond that, whereas cinema made its first foray into multichannel audio and rear speakers in 1940 with Disney’s Fantasia.)
If music is stereo only, Apple can still spatialize and head track the sound – basically positioning it on a soundstage and tracking your head accordingly. There’s a precedent for this – receivers supporting Dolby’s surround decoder, for instance, for years had modes labeled things like ‘cinema’ or ‘stadium’ or ‘hall’ which would provide some spatialization and reverberation effects from the decoding algorithms for stereo streams, either simulated for stereo speakers or with multichannel decoding to multi-speaker setups. (I think I said that accurately – it’s been a while since the 1990s, folks.)
Will the terms confuse consumers? Yeah, probably. Everything old is new again; Dolby has been doing that for generations.
“It was mixed wrong” … well, actually, possibly. Dublin Matmos? Doubly Hat Moss?
Certainly can can can
But the key ace in the hole for Apple here is, of course, Apple hardware. Dolby Atmos may be the industry-standard delivery format, but Apple is using their own 11 herbs + spices for encoding for the streaming platform and then rendering the audio and spatializing what you hear on the headphones. The onboard custom-Apple chips inside the AirPods Pro and Max sense where your head is positioned and decode the audio to something that sounds immersive and convincing.
There’s also a bit of a peculiarity here, which is that Apple is simultaneously touting Lossless Audio and Spatial Audio and comparing them to “compressed audio” as the legacy streaming format. The peculiarity is, neither AirPods Pro nor AirPods Max support lossless audio, so it’s really one or the other for now. Both are good technologies and likely the future of music listening and all that, but for now, you can’t have both simultaneously.
Of course, a lot of us would like to use our own headphones or speakers, but don’t sweat the walled garden too much here. Apple providing an end-to-end solution helps jump-start the basic idea; you can bet there will be other options for how to listen to it. If you’ve got Atmos-ready equipment, it’ll play Spatial Audio – minus the head-tracking. I expect third-party head-tracking solutions will also work on their own, though probably without Apple Music support (it seems).
And the reason for this compatibility is, the actual mixing of this is not dependent on particular hardware or even particular channel configurations. Which brings us to the next part of this story…
Independents before majors – from the start of the process, not the end
Maybe the biggest danger to Apple Music’s approach is that majors will go do some brainless weird Atmos versions of their hit tracks, and put people off the format. I still need to listen through Apple Music’s offerings properly, and I don’t feel I can hear well enough on AirPods Pro to really judge. I’m pretty happy with productions intended for stereo mastered for stereo, to be honest, so I’d have to be convinced.
But I think there’s still reason to be more bullish on music mixed for the format, or the focused potential of hearing stereo positioned on a soundstage instead of “stuck” in your head – it might even encourage you to sit back and really listen.
So for that reason, I’m eager to hear music made for the format and conceived as a multichannel, spatialized composition from the start. There’s also reason to think that you might compose music for spatial contexts from VR/AR/xR to live events with spatial sound setups to games and apps and want to offer that consistent spatial setup. I think it’s exciting to see those things democratized, in that we’re already used to hearing their impact in cinema contexts, but most of us haven’t been able to make music for that context or afford the tools needed to make them. And about that:
The production picture
Apple has quietly pushed their own brand front and center, and you’ll see discussion of Spatial Audio rather than Dolby Atmos – which makes sense, as Spatial Audio on iOS includes SDKs that have nothing to do with Atmos. But Atmos does remain the delivery format for music beyond stereo.
And there’s a real danger that Atmos could scare people off, understandably. For instance:
Okay, first – totally. (I’ll admit I don’t have twelve – actually thirteen – speakers.) But second – not exactly.
So the confusion here is, there’s Dolby Atmos and then there’s Dolby Atmos. Cough. An Atmos studio properly equipped for delivery to cinema (and by extension games using the format) in fact is supposed to have a 12.1 setup. Expensive, yes – but not remotely the worst of the massively expensive toolchains those industries use. (They charge more, too, so maybe we should all switch.) The full toolset needed for Atmos mastering and delivery can also get pricey if you want all the bells and whistles.
Unless you’re working on sound for the next Marvel movie, though, building that studio yourself or even renting one is probably overkill. The Dolby Atmos Production Suite specs say as much. (See Avid’s site – the tools are available for other DAWs, too, but Avid is a reseller. The panner works in other DAWs, too, like Ableton Live or Nuendo or Logic or whatever you like. The panner is free and there’s a 90-day free trial – so crank out your Apple Music Spatial Audio mixes in a hurry, kids!)
So Atmos works the way other multichannel formats have always worked, back to the days of quadraphonic setup or – keeping in mind stereo itself is essentially an “immersive” spatial format, stereo, too. You’ve got your multichannel recording (whether in the box or using mics), you have some way of encoding spatial information (putting it into a format to distribute), and some way of decoding it (on the other end, so people can hear it). And you need some way of monitoring it while you work on the mix. The reality is, the simple way to get started on “immersive” sound and not just stereo is… find four matched speakers and set up two of them behind and two of them in front. Really. That’s the basic minimum. (See the story I did on quad with KamranV back in June.)
For its part, Dolby Atmos’ tools will happily let you monitor – and render, while you’re at it – 2.0 to 9.1.6, binaural, B-format, and monitor through headphones. Part of the very reasonable criticism of all these Spatial Audio mixes – as the tweet points out above – is that people who did them may well be monitoring through headphones. And that is indeed a bad idea, because anyone doing that probably did not take the time to set up headphones calibrated to their head. (See the Head-related transfer function. Oh and expect you may wind up making ear molds.) Worse, they may just not have any idea what these mixes are meant to sound like if they don’t have experience working in these formats. I was just in an Atmos studio that I won’t name where I was told some engineers came in and tried to position one microphone per Atmos speaker which is not the way any multichannel format is supposed to work. (Imagine keeping a ‘left’ mic and a ‘right’ mic, not in a pair, but isolated from one another, so each speaker has its own mix. It’d be horrible.)
There is a way out of this mess, though. Apple has already said that it’s working on tools for Logic later this year. I hope that these will offer both the ability to monitor through a minimum of 4-speaker studio setups and integrated support for Apple’s own headphones for quick checks of head-tracked Spatial Audio. And yeah, then we’re all likely to wind up buying AirPods Max for an extra fix – maybe not perfect studio headphones, but something that would give us a decent idea of what listeners would hear on the other end.
A four-speaker setup is not particularly elitist – at least not any more than a studio rig already is. You could get four of IK Multimedia’s iLoud Micro Monitor, for instance, and have an ideal setup pretty cheaply, and small and portable enough that you could rig monitoring sessions in your bedroom or a hotel room, even. Add a pair of AirPods Max and you’d still be under a grand. The idea of course when then be to go earn more than you spend, or at least I’ve been told by other people that’s how businesses are supposed to operate. (Eep!)
It’s also not the case that this rig would have to restrict you to Apple Music. I think the added cost and time of producing Spatial Audio in the hopes of some streaming revenue will not be worth it for small producers, underground music, and whatnot, just as streaming generally has been problematic. But you have the option of delivering to Apple Music if you want, and you still have the SDKs built into iOS if you want to deliver your music as an app or a game (or the immersive soundtrack for an app or game). It’s also not hard to imagine that at some point you could be buying downloads of immersive music the way you do stereo music on Bandcamp.
Expect, too, that your multichannel mix could be adapted to other Atmos systems and other consumer multichannel / surround systems.
It’s also a good thing that there are formats other than Dolby Atmos, some of which support more immersive sound (more speakers, more precise speaker technologies, more channels, more flexibility), and toolchains that deliver additional bang-for-the-buck. Some of these are also free and open-source, which apart from saving money or supporting open ethos can also mean the ability to take advantage of new research in sound. Cinemas – because of the inflexibility of the physical theaters and distribution systems – very rarely represent the state of the art, even if they do have very nice sound systems.
But I do expect Apple could make things easier for us on the Atmos side, which isn’t a bad thing. Their headphones already offer an alternative to DIY head tracking solutions (in case you don’t want to duct-tape a circuit board inside your Yankees baseball cap). But moreover, I’m really crossing my fingers that the few hundred bucks you have to fork over for Atmos encoding may give way to some built-in stuff in Logic. Just don’t be surprised if Apple unveils some kind of “Apple Pro” subscription service in a few weeks in the process – just $xx.99 a month for Final Cut Pro and Logic Pro and more iCloud space! and… you know how this goes.
I don’t want to sound overly optimistic here. I’m still concerned that, relative to stereo which is easy, open, and doesn’t require any ecosystem, these spatial tools are heavily proprietary, including in Apple’s vision. (They’ve also been kind of a mess, both in how Atmos is supported and how new color gamuts work.) On the other hand, the locked-down cinema version of this was already inaccessible. This is at least a step back toward democratizing those tools and providing other options. And the onus is on the vendors here – because otherwise consumers and producers alike will simply go back to stereo, which is cheaper and easier. So keeping in mind that in the end you want this stuff to work across music, gaming, and virtual/mixed reality, the winner in the long run might need to make stuff inexpensive, accessible, and interoperable.
Let’s see. New Macs seem imminent. A new Logic with more spatial features. These may all be the easiest predictions ever. And then maybe we’ll all be listening in Doubly.
With the one-week mark until Coming Home just out of reach, Jerro is dispersing the concluding preview to his freshman LP that’s bound for This Never Happened on October 1. Coming Home has amassed an oceanic measure of promise in the road leading up its due date, with “Subtleties” now joining Jerro’s prior trilogy of album teasers that comprises of “Presence,” “In The Dark,” and “Lost For Words” with Panama.
Previously known to most as “ID5” from Lane 8’s “Summer 2021 Mixtape,” “Subtleties” is a fourth consecutive instance of Jerro’s keen production sense throughout every crevice of melodic house. “Subtleties” was sensibly hand-picked as Jerro’s terminal glimpse into Coming Home for a reason, backing up its name as Jerro delicately navigates through three-and-a-half minutes of melodic house serenity and rapturously closes the door on his album previews as his full attention now shifts to the following Friday.
“Subtleties” is out everywhere via This Never Happened on September 23, but can be streamed in full one day early, exclusively on Dancing Astronaut.
Due to a number of significant developments over the past 18 months, DJ equipment is proving harder to get, and is costing more. That’s the findings of DJ Tech Tools’ latest report in which they outlined why DJ kit’s supply chains have been affected by a perfect storm of chip shortages, component and labour price increases, the return to live events and more.
As both a distributor of third party DJ equipment on their own store and a creator of custom DJ controllers, DJ Tech Tools has seen the issue from all sides and has explained why the DJ community has found itself in this situation. One of the biggest issues is a global chip shortage, which has been widely reported as the cause of delays across multiple industries including car manufacturing, graphics cards and videogame consoles.
DJ kit isn’t exempt and according to a report by MI SalesTrak, the retail sales tracking program for musical instruments, “Higher costs of shipping and component parts have contributed to higher selling prices. Fifteen of our twenty reported product categories have seen substantial increases in average selling price versus a year ago.”
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