Germany’s largest music festival, Parookaville, has emitted the final phase of its 2022 lineup. Following the revelation of some of dance music’s most venerated and diverse constituents, like Afrojack, KSHMR, and Oliver Heldens across five prior phases, the event is now tacking on more artists of equal gravitational pull such as Krewella, Nicky Romero, and WHIPPED CREAM in its sixth and final phase. More than 300 artists will appear across the venue’s 10 stages from July 22 – 24.
The festival, hosted at Germany’s Airport Weeze, offers once-in-a-lifetime opportunities for dance music devotees, namely an exclusive back-to-back with Yellow Claw and Brennan Heart, a main stage that can accommodate 35,000, and state-of-the-art sound. Don’t miss out on the journey of a lifetime; grab your tickets here and view the full lineup below.
According to a 2021 New Year’s Eve tweet, “2022 = album mode” for Jai Wolf. Well, the Bangladeshi-American has officially cemented his first work of the calendar year, “We Will Meet Again.” Now streaming via Mom + Pop Music, the new one-off features none other than San Holo.
On top of their freshly released collaborative single, Holo and Wolf also have an upcoming concert together. Scheduled for June 8 at Colorado’s world-renowned Red Rocks Amphitheater, INFINITE LIGHT will feature opening support from Manila Killa and Tsu Nami.
Purchase tickets to the duo’s forthcoming joint performance here, and watch the brand new lyric video for “We Will Meet Again” below.
Ableton Live 11.2 has hit public beta. You get AUv3 support – which means your iPad effects and instruments may have just gotten way more useful – and improvements to Reverb and more. Let’s dig in (and compare the 11.2 Reverb to the one available since the Cretaceous period).
Let me just emphasize, though, the two biggest changes here:
Subtle changes to Reverb.
You’ll be able to run Live with it figuring out what the audio preference is that just changed instead of shutting down everything.
I mean… I don’t know. This is like too much. Dogs and cats living together, mass hysteria!
Back to the Mac: automatic audio settings, AUv3
Mac users are the ones who will see the biggest changes in 11.2. First off, your audio preferences finally follow system sound settings. That means no more do you open up Live and see the dreaded complaint about the previous audio interface being unavailable. (Anyone want to wager how often you have that happen? I’m at 60-70%. No joke.) Even Ableton describes this as meaning you can “save precious creative time.” On the other hand, we will all lose a valuable moment of self-reflection and meditation, a beloved ritual of… yeah, okay, downloading the beta now.
The other big Mac bonus is if you have an M1. Native AUv3 support makes more plug-ins available, with compatibility across iOS and macOS.
There’s a lot of minor maintenance being done to plug-ins in 11.2, but Reverb actually gets the first significant overhaul since… seriously, as near as I can tell Reverb has looked essentially the same since Live 1. I did not bother to dig into years of changelogs to find out, because these are the first changes that matter.
The design has been updated, which we can see by comparing the two UIs. Here’s the old Reverb (uh, Reverb Classic / Reverb Original Recipe / Reverb Original Formula):
And here’s the updated Live 11.2 Reverb – the same basic interface, but looking more like the other modern Live Devices:
New Sparse mode. Sparse is new and allows for lower CPU usage.
New Smooth setting drop-down. None, Slow, Fast – deals with what happens when you change the Size parameter. I wish all reverbs did something like this; it deals with the normally disruptive sound that happens if you adjust size while feeding signal into the reverb. Occasionally you may want to sound like you’re playing music on a spaceship that just got sucked into a wormhole, but probably not all the time.
From their changelog and listening, it seems that what this does is spread out shifts to delay times in the delay network on which Reverb is based.
Filter type for Diffusion Network. Now you can choose between a one-pole lowpass filter or low-shelf filter.
Improved CPU usage overall. This one is actually hard to believe, given that I ran Reverb successfully first onstage on a 400GHz G4, but excellent!
It’s all subtle stuff. But if it gets you to look at Ableton’s default Reverb again, that’s not a bad thing. I always felt this was a distinctive and musical effect, very much underrated, but one that rewards you for taking some time. Don’t just leave it on the defaults, but actually take some time to understand it as a unique tool.
There’s a lot of plug-in work generally in this one – a lot of it to do with consistency and parameter labels. And a lot of the internal Devices now consume less CPU. Also worth noting:
Delay has a Hi-Quality context menu that lets you switch off Hi-Quality to save CPU – especially important on this one, which is one of the spendier new Devices.
One other small but potentially valuable plug-in tweak – errors are shown in the Status Bar with a linked detailed error report.
Plug-in support for third-party plug-ins does seem to be getting attention here, but that also means – proceed with caution with the beta. (Do that anyway, but here’s an extra reason.) It’s easy enough to install the beta alongside the main version – and use the stable build for your critical work.
There are as always a bunch of Control Surface fixes.
Capture MIDI is improved.
Oh, and not really a Live thing, but Centercode – the tool for delivering betas – appears to have gotten an update, too, so you’ll have a prettier UI as you download.
Well, New York – city that once birthed CDM – I’m back this week. Come meet in person at 343 Labs on W 23rd St. Thursday night and I’ll talk about some experimental sound design techniques with modular and how they can fit techno, all using free tools. Free workshop, free software, no gear needed.
We actually have multiple free modular tools to work with – Reaktor Blocks, VCV Rack, Cherry Audio Voltage Modular Nucleus, Bespoke synth, and that’s before you even get into live coding and Unreal Engine and tools like that. But Reaktor Blocks is uniquely mature, and it’s great that the free version (via Komplete Start) works as a plug-in, plus you have an entire ecosystem of really terrific modules. I’ll build on the tutorial I built here – got some new sound stuff to share, too:
Composers & Computers is a new podcast series, from Princeton’s School of Engineering and Applied Science, that explores the school’s role in the early development of computer music.
In the podcast, host Aaron Nathans interweaves stories about science, art, friendships, and the extensive interdisciplinary links between the computational and musical realms at Princeton. Episodes look at the origins of computer music at Princeton, the role of composers like Milton Babbit and Paul Lansky, music theory and more.
Nathans notes that many composers feel “like there really is no such thing as computer music anymore,” adding, “It’s just music and…a computer is just another tool to make music.”
You can preview the first episode via the embed below, and subscribe to the podcast via Princeton’s site.
The Ukrainian duo ARTBAT has been at the top of the deep-progressive house genre for quite some time. With long builds and heavy progressive synthwork, ARTBAT’s music can only be described as the most soothing house music to one’s ears. Out now via ARTBAT’s own Upperground imprint, the Ukrainian artists have shared Selected M22, a four-song compilation from a group of equally esteemed progressive house producers.
The leading track of Selected M22 is “Generation,” a seven-minute ensemble of deep melodies, progressive synths, and entrancing kick drums. Other tracks on the compilation include Woo York‘s “Like a Phoenix,” Stephan Jolk‘s “Blossom,” and Noissier‘s “Stay Close.” Each track has a resonant emotional impact and takes the listener on a journey through progressive sounds. Stream “Generation” below.
Not only lauded for his production expertise, immerse live show experiences, and his commanding influence over the bass music scene, Excision has once again dedicated his powers for good, launching the Excision Bassic Music Initiative—a brand new $100,000 creator fund for underrepresented artists. This is not the first time throughout the bass veteran’s industrious career that the industry has seen Excision empower smaller artists. One of most effective ways he’s helped build emerging acts’ careers is his fledging Subsidia imprint, where he has sought out and welcomed dozens of smaller names across a multitude of compilation albums,Dusk, Dawn, andNight, volumes 1 through 6.
The money will be divided amongst 10 chosen artists, along with sponsored studio equipment and priceless support from Excision and his Subsidia imprint across all major platforms and events. Presented with a small settlement from an accident that jump-started his career and allotted for him to purchase the proper equipment and focus entirely on music, Excision has always been an advocate for paying it forward. He writes in a post on social media,
“Talented artists who are spending the majority of their time working a job that isn’t their passion just to make ends meet are losing out to those who have the financial freedom to really focus on producing music.”
Acknowledging that the opportunities he’s gotten since this formative years were due in part to the money he was privileged to receive early in life, Excision moves forward in hopes that the 10 recipients of $10,000 each will see their own careers bolstered as a result. For more information on the application process head to Excision’s website here.
Sam Walker and Gavin Royce have teamed up with Australian vocalist Sophiegrophy for their third collaborative single. “No Drama,” out now via Club Sweat Records, serves as the follow-up to Walker & Royce and Sophiegrophy’s previous links, “All For the Gram” and “My Own Thang.” Walker & Royce continue to be a force in the tech-house space, providing their characteristic thumping bass signature within the majority of their output—”No Drama” falling right in line.
Sophiegrophy’s catchy vocals, paired with heavy drums and well-placed hi-hats, is a testament to Walker & Royce’s sound design skills in their latest single. While “No Drama” is officially the third collaboration for the artists, Walker & Royce have previously snagged productions credits on Sophiegrophy singles “Cringe” and “You’re the Boss,” notching yet another win in this trio’s rich collaborative track record.
Totally Enormous Extinct Dinosaurs has shared the third single for his forthcoming album When The Lights Go, coming out in July. Out now via Nice Age Records, “Sleeper” is an emotive, melodic piece about the hardships of love and heartbreak. The new single follows “Crosswalk” released in April, and will be one of 17 songs on the new album.
With raw and passionate vocals, “Sleeper” is a genre-defying single with influences from pop, electronic, and gospel all neatly wrapped into one. While “Sleeper” originally began production years ago, the meaning of the song has changed for TEED, moving away from a traditional love song and into the depths of undeserving love and vulnerability. Stream “Sleeper” below.
London festival Body Movements has announced SHERELLE, Midland, Shy One, and over 100 more names for its 2022 edition.
Taking place on Saturday, July 30th across various venues in Hackney Wick, the one-day event, which amplifies trans and queer club collectives and communities, will also see the likes of Angel D’lite, Lotic, I. Jordan, Juliana Huxtable, Peach, Powder, Or:la, Princess Julia, Dan Beaumont and festival co-founder Saoirse perform. Check out the full line-up below.
This year, Body Movements have also announced an Apply to Play programme, which invites burgeoning artists to become part of the line-up. Applicants need to record a mix by the end of June, with winners then selected by Saoirse and the bookings team. You can apply here. Pick up tickets for Body Movements here.
Body Movements, the UK’s first queer electronic music festival, was launched in London’s Hackney Wick in October 2021. Helmed by DJ Saoirse and Clayton Wright, and with the help of 20 collectives, and an impressive line-up of DJs, dancers and performers, the sold out event was a celebration of dance music’s queer past, present and future. Read our review here.
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