garageCube, makers of MadMapper and the software that helped popularize projection mapping, are now about to take on frickin’ lasers. (Safety rules do apply here – very, very seriously.)
MadLaser is what it sounds like – a tool for controlling lasers with an emphasis on usability, much in the way MadMapper made projection mapping more accessible. And there are a ton of features, both on the laser control side, and interfacing with content and protocols.
Got material you want to render in lasers? You can bring in video and MadLaser will vectorize it, even starting with tools like Adobe After Effects (as many mappers already do). You can bring in SVG, text, and fonts. You can interface with Shownet and Ilda and all the usual protocols.
Then there’s the laser control and rendering side. MadLaser will feature programmable laser shaders – GLSL-coded vector graphics that translate to laser materials. They also promise tricks for rendering complex shapes with Laser Dispatch.
There are video tutorials coming; I’ll keep an eye out for those for y’all. (or subscribe but… watching CDM is more fun, no?)
Meanwhile, specs, as described from our friends in Geneva:
Easy of use, as usual Native Apple M1 build [Windows is supported, too – and required for certain rigs] Unlimited lasers (till your computer melts) Multi protocol: Ilda through EtherDream or Helios USB, Shownet, FB4 through Pangolin Beyond Realtime vectorization of video or material content Laser lines just like regular lines you’re used to Realtime programmable laser shaders Mesh warping of laser content Multi laser content dispatch Laser projector masks Ilda file import/export Laser text with included OneLineFonts SVG file import to render precise vector graphics Full options: angle optimization, blanking, draw order, maximize FPS, time offsetting signals, etc (And much more!)
MadMapper supports multiple DACs. It supports FX4 through Pangolin Beyond, so you need to be on Windows and have the licence, that’s not the option we promote, but since many people in the business have lasers with only FB4 DAC intergrated (and no ILDA input) we decided to handle it. We prefer working with Etherdream (ethernet – 16 bits XY) or Helios (USB – 12 bits XY). We also support ShowNET protocol – DAC, so any LaserWorld projector with ShowNET (Tarm are good machines) will work directly with just a network cable (Auto IP works fine)
Anyone got a quick suggestion for a simple laser setup for testing this stuff?
It depends on your budget and possible projects. If you want to do graphics (needs accurate scanning, precise and small beam => low divergence, good diodes alignment) or atmospheric. I’m not comfortable to promote hardware. I first bought a small very cheap LaserWorld DS1000 to understand what laser projection is about, and while I wouldn’t use it in an install (the white is blue, to get a clean white I have to reduce lower red and green by 50%, so I’m about 0.5W), scan is not bad at all and the beam is very straight (of course it’s easier to have a straight 1W beam than a 5W) If you want to do video projection + laser on top, you might like to have a small beam – low divergence. If you’re doing architectural mapping, atmospheric, clubbing or festival, you might prefer power over sharpness. But for a museum piece you ‘ll choose a low power / sharp beam one.
If Apple and PC makers aren’t inspiring you, there’s always teenage engineering. The Swedish maker of synths, sound gear, and electronics are now offering up their own custom PC case – orange, aluminum, with carry-handle, for mini-ITX and dual-slot GPU. It could be the start of someone’s killer portable music/gaming/VJ rig.
Roland has introduced the JD-800 Software Synthesizer, a software recreation of the classic hardware JD-800.
The original Roland JD-800 is considered by many to be one of the classic digital synths, combining the power of digital synthesis with the hands-on control of classic 70’s analog synths. It featured patches created by Roland’s then Chief Sound Designer Eric Persing, who created many of the most iconic sounds of classic Roland synths, before going on to found Spectrasonics.
The JD-800 Software Synthesizer brings back the classic sound of the original, including the original 64 presets, but also expands on it with expanded polyphony and other modern updates.
64 original presets, plus 64 new presets
Recreation of JD-800’s two-stage, multi-effects section with drag and drop reorder
7 effects: chorus, phaser, enhancer, distortion, spectrum, delay, and reverb
Detailed, realistic interface is resizable and includes alternate views
Expanded polyphony versus the original hardware
VST3, AAX, and AU with support for Apple silicon
The JD-800 Software Synthesizer is the newest member of Roland Cloud’s Legendary series, which includes plug-in versions of the JUNO-60, JUPITER-8, TR-808, TR-909, D-50 and more. See the Roland Cloud site for details.
Deepend once again runs the melodic-house gamut, putting his delicate electronic touch on Chef’Special’s latest summer hit, “Afraid of the Dark.”
While they’re yet to make sizeable waves stateside, Chef’Special is truly one of The Netherlands‘ finest homegrown talents. The five-piece instrumental outfit has made a name for itself over the years with its funk-infused indie-pop sound, selling out Amsterdam’s 15,000=capacity Ziggo Dome and recently touring with the genre-defining Twenty One Pilots. With airy and often uplifting hits like “Amigo,” “In Your Arms,” and “Nicotine,” their playful sound makes for the perfect foundation for an electronic spin.
Now, their latest single “Afraid of the Dark” gets twisted for the electronic airwaves by none other than fellow Dutch trendsetter, Deepend. Although it’s common for remixes of standout singles to suffer from there simply being too many cooks in the kitchen, that couldn’t be further from the truth with Deepend’s groovy rendition. The new remix gives Chef’Special’s original room to breathe while still extending a dance floor-ready makeover with touches like slap-house-inspired bass.
Find Deepend’s remix of Chef’Special’s “Afraid of the Dark” out via Spinnin’ Records now.
Ross From Friends has returned with his sophomore LP Tread, released via Flying Lotus‘ Brainfeeder label. Featuring the lo-fi foundations that first shot the producer to fame, the record finds Ross From Friends toying with themes that pull influence from his hometown in South London and slinking pieces that highlight his ever-evolving style.
The record was led by the album’s first track, “The Daisy,” released last August. Fans can get their hands on vinyl copies of the record through Ross From Friend’s official website.
Dr. Dre is working on songs for the next instalment of the ‘Grand Theft Auto’ game series, Snoop Dogg has said.
Snoop reveals the news in an upcoming edition of the ‘Rolling Stone Music Now’ podcast, which is scheduled to go online tomorrow (October 29th), as Rolling Stone reports.
“He’s making great fucking music,” Snoop is quoted as saying on the podcast. “And some of his music is connected to the ‘GTA’ game that’s coming out. So I think that will be the way that his music will be released, through the ‘GTA’ video game.”
Snoop’s claims have not yet been verified by the game’s maker Rockstar Games, nor any of Dre’s representatives, while a release for the next instalment in the long-running game series is yet to be announced.
Dre’s music has, however, previously featured on the in-game radio stations of multiple ‘GTA’ games, with ‘Fuck Wit Dre Drey’ and ‘Deep Cover’ appearing in ‘Grand Theft Auto: San Andreas’, and ‘Still D.R.E.’ and ‘The Next Episode’ featuring in ‘Grand Theft Auto V’. Any new material by Dre would mark his first release since 2015 album ‘Compton’.
nøll and Highlnd have teamed up to release their vocal-infused single “Save My Life” with singer-songwriter Josh Rubin. The rising Los Angeles-based producers align their musing melodic influences of dubstep, future-bass, and trap to create a masterful blend of intensifying cinematic soundscapes, orchestral elements, and Josh Rubin’s impassioned vocals.
The collaborative single exhibits a contrast of anthemic melodies and breathtaking moments and emerges as a surefire catalyst of unmistakable energy and vigor that will continue to thread nøll, Highlnd, and Josh Rubin as one of the most exhilarating and talented up-and-coming electronic acts of today. Speaking on how the track transpired, nøll shared,
“Like all great songs “Save My Life” came together very quickly. Elliot (Highlnd) started the initial idea and I fleshed it out by adding the heavy drop. I linked up with Josh and Charlotte in the Shalizi Group studios and the song was written, recorded, and finished in a day. Just goes to show that when there’s a spark, the song basically writes itself!”
Stream the future bass mega-collaboration in full below one day before its release on Lowly, exclusively via Dancing Astronaut.
The penultimate date in the institution’s 2021 season
Wednesday, October 27, 2021 – 13:58
Manchester’s Warehouse Project has announced its New Year’s Eve party with a huge lineup headlined by Fatboy Slim, Annie Mac and Big Miz.
Visiting guests joining those names at the Mayfield Depot include Yousef, Redlight, Lowsteppa, My Nu Leng, and Ammara, with the likes of longstanding Warehouse Project resident Krysko and Hit & Run boss Rich Reason among the local talent involved.
In addition to those artists, attendees can catch Bristol emergent Dark Arts Club playing his debut at the northern English institution, rising Southhampton tech house star Biscits, and DJ-vocalist Sarah Story.
The date is the penultimate in the Warehouse Project’s annual autumn-winter calendar, which began in a live show from Megan Thee Stallion, the massive Repercussion festival, and and an appearance from Nile Rodgers & Chic. You can find all remaining line-ups for this season on the official website, and step inside the iconic Mayfield Depot venue with a video made to mark the first run of events back in 2019. The space also appeared in DJ Mag’s feature on how UK venues survived during the pandemic lockdowns of 2020 and early-2021.
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.
EDC Las Vegas bent to the COVID-19 pandemic—but it didn’t break, and on October 22, 2021, Insomniac‘s flagship festival arched its proverbial back and stood tall once again across the 1.5-mile Las Vegas Motor Speedway. Come May of 2022, it’ll do just that as Pasquale Rotella and company reassert their promise that pandemic or no pandemic, their headliners will safely assemble under the electric sky.
October of 2021 marked the Sin City mainstay’s 25-year anniversary, a legacy of capable and forward-thinking festival production that was evident from the complimentary fanny packs and water bottles lovingly distributed to shuttle takers to the physical stage structures. Like other festival and event operators who were sidelined one-and-a-half years or more by the COVID-19 health crisis, Insomniac had a considerable amount of time to contemplate how to best return to the live programming circuit after an unforgettable stretch of time marked by the quietude of no in-person gatherings and music experienced mainly via livestream. And as the October 22 – 24 span demonstrated, the organizer’s approach was measured and well-planned, such that festival attendance felt normal and the devastating events of earlier months, far removed.
Festival-goers were required to present proof of vaccination or a negative COVID-19 test result from a test taken within 72 hours of arrival at EDC. After presenting the necessary documentation, attendees were granted access to the grounds, touted by Insomniac as an “oversized playground with all your favorite full-size thrills.” Indeed, the “thrills” were anything but fun-sized at the whimsical, LED-driven setting. Bedecked with eight different stages, performers—some on stilts, some in costumes, and some with art pieces in hand—a Downtown EDC area, rides by the many, bars, food booths, art installations, and other accents equally as kooky as they were imaginative, the EDC grounds functioned as an outdoor fun house of sorts where there was always something to see and always something to do.
Attendees traipsed, ran, jumped, and danced through asphalt sprinkled with water bottles, kandi and other “ground scores,” and the glitter and feathers that fell every now and then from the more eccentric outfits donned at the Motor Speedway. Over the years, the electronic music news and music media cycle has always paid close attention to the EDC Las Vegas stage designs and lineup, and with good reason. But what reviews and other thought pieces on the Insomniac favorite don’t always canvass is the vibrancy and camaraderie of the crowd that consumes the boisterous, energy-ridden affair that is EDC Las Vegas.
As an East Coast resident who frequents many shows and festivals in the tri-state area, the facet of the event most surprising to the author of this review was the consistent and prevalent kindness and concern that fellow festival-goers demonstrated throughout the course of the weekend. The music lovers who frequented EDC LV 2021 were talkative, engaged, and considerate, with “where are you from,” “is this your first EDC?,” “would you like some of my [given item],” and “sorry! [when accidentally pushing/bumping another],” were epithets of the weekend. The sheer humanity shown during the three-day celebration of EDC LV’s return was a heartening reminder that “PLUR” was still intact and human contact not only sought but also invited by others. Coming mere months after emergence from nationwide lockdowns, the feelings of togetherness and unity able to be experienced at EDC carried a new sense of novelty.
EDC LV attracted more than 450,00-plus headliners and reinforced its message of inclusivity through a large billboard placed just near the festival entrance that read “ALL ARE WELCOME HERE.” It was true, and each day from 7:00 p.m. to 5:30 a.m. local time, headliners unique in their respective ways yet likened by their affinity for dance music diffused across kineticFIELD, cosmicMEADOW, circuitGROUNDS, neonGARDEN, bassPOD, wasteLAND, quantumVALLEY, and stereoBLOOM. For the first time in EDC LV history, this motif of inclusivity also led Insomniac to embrace the music lovers at home, broadcasting the action via livestream.
On the ground, EDC LV ran like the well-oiled machine that it is, with sets occurring on time, shuttles running in a prompt and coordinated fashion, and festival staff capably and quickly attending to requests of various kinds. Waits for premiere shuttles (the author of this review used a premiere shuttle pass) were short and pass holders were able to expeditiously board their shuttles at the time they specified at the time of pass purchase.
Standby wait times for premiere shuttles were also remarkably short, with the sole delay experienced when waiting on standby to leave the festival at its conclusion (5:30 p.m.) on its final day of operation. However, this is a delay of an expected nature; future EDC LV-goers should anticipate waits if they purchase a premiere shuttle pass with a shuttle departure earlier than 5:30 a.m./6:00 a.m. and attempt to go on standby to leave the festival at/after 5:30 p.m. on the last day. This is the busiest time of EDC LV shuttle coordination as many—if not most—premiere and standard shuttle pass holders plan to exit the festival at this time. EDC LV’s shuttle team/drivers worked quickly to shepard headliners home, with those in the premiere standby line able to begin boarding shuttles as early as 7:15 a.m. This was the result of Insomniac’s expert shuttle planning.
Wait times for restrooms were also short, thanks to the presence of various GA+ and standard restrooms throughout the grounds. It’s worth noting that those who intend to attend EDC LV 2022 or a later iteration of the festival should consider purchasing a GA+ Experience Pass over a GA Experience Pass, as the former affords access to the GA+ restrooms. The GA+ bathrooms are placed closer to the stages than the standard restrooms, translating to a shorter walk across the grounds for bathroom purposes. Needless to say, this is immensely helpful given the expanse of the Motor Speedway and the volume of EDC LV attendees. If you are cutting set times close or plan to jump from stage to stage, purchasing the GA+ Experience Pass is in your best interest as the greater availability and proximity to the stages of the GA+ restrooms greatly expedites the restroom experience. Of note, the GA+ restrooms are also premium, air-conditioned restroom trailers versus standard porta potties. Having used both the GA+ and standard restrooms, the author of this review can affirm that the extra expense associated with the GA+ Experience Pass is worthwhile.
From May 20 – 22, 2022, EDC LV, the world’s largest dance music festival, will return to the Las Vegas Motor Speedway for its 26th year of production. Information about the event’s May follow-up will be available on Insomniac’s website, where fans can sign up to receive information on the 2022 installment, including pre-sale codes and other festival-related announcements, as it becomes available. In the meantime, relive the EDC LV 2021 magic on Dancing Astronaut‘s Twitter and Instagram channels.
Shygirl has dropped a new single, ‘Cleo’, and accompanying video.
The release directly follows her collaboration with slowthai, ‘BDE‘, and the short Burberry-styled film she directed, ‘Shygirl BLU’.
This is the second instalment of new music from the artist since her last EP, ‘ALIAS‘, which landed in 2020 and featured the late-SOPHIE, Sega Bodega, and more. The new track itself opens with well-over one minute of atmospheric, cinematic strings, before its low slung, garage-house beat and bassline drop.
In the past year, Shygirl has enjoyed major recognition for her work, including an appearance in Forbes’ coveted 30 Under 30 list, and a commission to remix Lady Gaga and Blackpink’s ‘Sour Candy’ alongside Mura Masa.
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