ODESZA surprise with fifth album single ‘Wide Awake’ featuring Charlie Houston

ODESZA surprise with fifth album single ‘Wide Awake’ featuring Charlie HoustonOdesza The Last Goodbye Toby Tenenbaum

With just a little over a month until ODESZA‘s revelation of The Last Goodbye on July 22, Harrison Mills and Clayton Knight are continuing their pattern of unexpected pre-album singles. Joining previous members of the LP’s rollout, including the project’s soulful title track with Betye LaVette—recently used at Apple’s Worldwide Developers Conference—“Better Now” with MARO, “Love Letter” with The Knocks, and “Behind the Sun,” “Wide Awake” with Charlie Houston comes as the Foreign Family label head’s fifth preview thus far.

The heady, melodious production culminates in an intensely introspective tracklisting that stylistically veers from preceding singles while leaning slightly more in the house direction that ODESZA previously explored through BRONSON. As the countdown to The Last Goodbye‘s summer and fall run—to kick off in ODESZA’s hometown of Seattle a week after the album’s release—nears its completion, stream their latest below.

Featured image: Toby Tenenbaum

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Arturia V-Collection 9, feature by feature: a dreamy, futuristic update, new and old

Arturia’s V-Collection 9 is more than just another “add some more instruments, update a few things” V-Collection refresh. This one goes somewhere new and dreamy – both with new instruments that aren’t remakes of old stuff, and some of the biggest advancements coming in the form of rebuilds for some of your favorites.

And I do mean dreamy. If I’m late in turning in my review, it’s that I found myself on some sonic reveries I didn’t expect with this one. I’ll explain – as you do need to really dig in to appreciate why this is a bigger landmark than a typical year.


Compatibility. You don’t have to update to V-Collection 9 just to get support for Apple Silicon, by the way – that update came free in 8.2 to owners of that release. So this is really about whether the new instruments and rebuilds give you creative possibilities. (Of course, if you did get a new Apple machine and have something earlier than V-Collection 8, it’s a no-brainer.) Backward compatibility on both platforms is impressive – Windows 8.1+ for PC folks and macOS 13 High Sierra.

8.2 also delivered tuning support for Clavinet V, Stage-73 V, Piano V, and DX7 V. Now the same tuning support is in all the new instruments, too (including the reboot of the Piano V). That means these are perfect software instruments to use with MTS-ESP and other tools.

Augmented STRINGS. Okay, a lot of space used just for pretty visuals, but – those macro controls are terrifically useful.

New augmented instruments

Augmented STRINGS and Augmented VOICES are perhaps what is most interesting in this update because they take the toolset in a new direction. Since the start, V Collection has been essentially about recreations of classic instruments – the “V” even stands for “virtual.” Arturia has certainly packed a lot of additional twists into those recreations – think enhanced modulation and effects, among other features – but they still emulate something from the past.

Augmented VOICES and STRINGS are really something new and imaginative, hybrid instruments combining multiple techniques and morphing to produce something truly otherworldly. And for me, just having these in the collection starts to make me think of the other instruments in new ways.

Arturia’s FX Collection has been going in similar territory. After the usual EQ and dynamics gear, we’ve started to see Arturia-original delays and reverbs. These can still bring in components of modeling from real-world circuits and other details grounded in historical hardware but in entirely unheard-of combinations. And then there was a particular favorite of mine (and anyone into granular stuff), Efx FRAGMENTS:

The “Augmented” range builds on FRAGMENTS – even with its functionality baked in – to produce ethereal, dreamy new textural soundscape-makers. STRINGS and VOICES can be realistic if you like, but they really benefit from cranking up the parameters and bending them into beautiful, warped timbres.

Here’s a play, adding some Ableton Microtonal and – because I just can’t get enough of the granular stuff, Efx FRAGMENTS from FX Collection layered on top of the patch I dialed in with VOICES and STRINGS.

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Both engines are all about layering – with a full spectrum of sounds Arturia describe as “realistic to abstract.”

The basic notion –

  • Per-engine sample or synthesis base. Synths and samples can be layered together for synthetic-acoustic hybrids.
  • Altered samples. Various creative tools based on voice and strings (for the respective library), ready for assembling in other contexts. The parallels to what Arturia has done with their PIGMENTS synth are clear.
  • 2 layers. You can really thing of this as two-engine, two-part multi-timbral mayhem, each a thick stack on its own. Each engine-level layer then has its own filter, effects, and two layers of your choice (synth/synth, synth/sample, sample/sample).
  • Macro controls. These are useful not only for the presets, but your own creations, because you can quickly perform with morphing, etc. And you can (and should) always use this in conjunction with the Advanced mode. Morph, Time, Color, Motion, FX A, FX B, Reverb, Delay.
  • Modulation – lots of it. 2 LFOs, 2 function generators, 2 random generators, 4 keyboard modulation sources, and dedicated vibrato and tremolo.
  • Effects – lots of that, too. 2 FX slots per layer, 14 FX, including EQ, bitcrushing, the BL-20 Flanger from the FX Collection, and more.
  • 16-step arp.
  • Delay and Reverb. 5 total algorithms, lots of possibilities. And I put it together with the FX Collection, because of course I did.
  • MPE and MTS-ESP ODDSOUND compatible. So polyphonic expression and tuning support.
Layers inside layers. So notice you can add synth and sample engines inside the two layers (A and B), with per-layer controls and filters. The Augmented series collects greatest hits of sound design, modulation, and effects from Pigments, Efx series, and V Collection.

This is way more than a novel one-off; there are a ton of engine features inside. The synth engines cover virtual analog, additive synthesis, wavetable, and granular engines, on top of all the sounds.

It’s all really exciting. The basic idea reminds me a lot of the early Output instruments and effects, but it’s totally Arturia in vibe now – and frankly a lot easier to navigate. Diving into a preset and messing around with some layers gives you immediate customization, so it’s often comfortable to do that rather than start from scratch – though there are templates, too, to help you out.

And importantly, it’s all eminently playable. It’s one of the few instruments where I right away use the macros for myself, not just for presets – and you’ve got MPE and MIDI modulation so it’s instantly useful with an instrument.

Programming the Macro controls isn’t just for preset makers – it can also help you design sounds and make them playable.

I may make it sound like these instruments are interchangeable; they do have the same basic architecture. But they’re pretty nicely differentiated as far as sound content and character inside, though you absolutely can make the string instrument sound like vocals and vice versa in a nice way.

On the vocal side, you get solo and ensemble recordings, close and far mic arrangements, and various articulations, plus enough pre-processing that this sounds different than what you’d get out of a run-of-the-mill vocal sample library even before you start messing with layering, modulation, and effects.

Strings, too, cover solo and ensemble, close and far mics, articulations, and double bass, cello, viola, and violin. (Okay, version 2.0 wish – viola da gamba!)

The fact that the engines are so similar means you might not buy each a la carte, but they’re a wonder as far as consistency since you only have to learn the UI once.

More on these two:



More new instruments

The big “classic” addition for V 9 is the Korg MS-20 V. That’s one that needs little introduction – it’s just a tremendously versatile, gorgeous instrument. And Arturia worked directly with KORG on this one, producing what I think is the most convincing-sounding software yet – and I do have the KORG re-make of the MS-20 next to it for comparison.


It’s so good, that it’s better to talk about what Arturia added. And first, it’s nice to see an MS-20 in software form with a usable UI. But there are other additions, too:

The big one is, you get a modeled SQ-10 sequencer in the software. I mean, if you’re going to be using an MS-20 now, you might as well use the distinctive companion sequencer, too – very usable here. (Usable enough that you might want to work out making a simple DIY controller for it!)

3 channels, 12 steps. (Yes, 12 – part of that distinctive KORG sound; you have enough 16-step or 8-step sequences, anyway!)

And this being an Arturia instrument, of course, there are four FX slots, with 18 possible FX – just as we’ve seen on other recent additions.

MPE – check.

MTS-ESP – check.

Expanded polyphony – 6-voice, with Unison mode.

SQ-10 sequencer, the hardware companion for the original, is built in. And yeah, of course, all the semi-modular patching potential of the 1978 device, too.
New FX. Happily, Arturia is staying consistent with a lot of these UIs across the collection, so you can more quickly apply skills between instruments.

Other than that, it’s an MS-20, with all the things that are great on an MS-20 – frequency modulation, hard sync, ring mod, some work really modeling those KORG IC-35 and OTA chips, the envelope generators, everything. And of course, it’s eminently patchable – this is one of the best semi-modular synths ever made, and even though it was created in 1978, it holds up. (I hope the same can be said of me.)

Oh, another thing that might not be obvious – you can use this as an effects processor. There’s the External Signal Processor module, just as on the real hardware – so this may have just become the most useful effects processing plug-in in the V Collection, complete with Envelope Follower and sidechaining. Plus you can combine the MS-20 as effects processor with those 4 effects slots, and use those in either serial or parallel.

…this may have just become the most useful effects processing plug-in in the V Collection, complete with Envelope Follower and sidechaining.



The other new addition was already announced — the fabulous SQ80 V crosswave synth.

I can’t stop using this one, so I should just do a sound design guide to this and a couple of others.

SQ80 V


But it’s easy to sum up. 8-bit oscillators, hybrid waveforms, layering, from the same engineers that designed the sound engine of the Commodore 64.

Look, you never need to have heard of an SQ80 – that’s just a genius combo in 2022, anyway. It’s perfectly modeled here – yes, because they have analog components, modeling a vintage chip does require effort – that together with the nicely-modeled analog filter gives it a wonderful, lo-fi thwonk. And then Arturia crammed it with more waveforms, added an 8-voice unison that’s so natural you’ll swear the original had it, an arpeggiator, voice dispersion to add additional organic qualities to the sound, and expanded the envelopes. (The original envelopes are there, but frankly a bit too limiting.)

Top left – it’s all about the waveform choices. “Hidden waves” come from the original hardware.

The upshot is – I realize I may be saying something blasphemous here, but I enjoy using the SQ80 V even more than Pigments. And it feels a bit like a retro Pigments from an alternative universe, like if it had been made by 80s Ensoniq, brought through a Bill & Ted time machine to work on a plug-in. (1989, right at the end of the SQ-80 lifespan – actually, that checks out. Maybe that is what happened. Dude.)

All the default presets, even “hidden” waveforms, are there for your choosing, and a ton more.

MPE compatible, though no MTS-ESP yet. Hoping that gets added as it has been to the others.

Rebuilt instruments

So, that’s the new stuff. But honestly, the thing that may make a lot of folks really want to upgrade is the number of instruments that have been rebuilt from scratch. (Some folks I know worked on the rebuilds – it sounds like a lot of work.) The ones I’ve played with in fact show a lot of work. V Collection always had the most instruments around. With these rebuilds, I think it’s arguably got the greatest depth and sound quality, too.

CS-80 V

Prophet-5 V

Prophet-VS V

Piano V

Let me focus on just two of those I’ve spent the most time on – Prophet-VS V and Piano V.

Vector greatness, from Sequential and the late Dave Smith. Combining vector morphing with envelope animation makes this a perfect 2022 instrument.


I began this story before the loss of Dave Smith, but this is a chance to experience some of his work from Sequential even if you can’t afford the vintage hardware or access to it. (These are unauthorized replicas, but thoroughly enjoyable – and of course do check out Sequential and Dave Smith Instruments hardware.) That’s especially true of the Prophet-VS, the ground-breaking “vector” synth – the instrument Dave made that changed the shape of digital synthesis via wavetables and morphing. It still feels futuristic – once in your hands, very much able to make sounds of now.

And this instrument is just wonderful. Alongside the SQ80 V, it’s become a go-to for me. It’s good enough to hold up alongside current wavetable instruments, especially with the niceties Arturia added.

As on the SQ80 from last year (and new to the V 9 bundle), you have tons of waveforms in there – factory presets, plus new ones.
FX options include the excellent BL-20 flanger.

As on the Ensoniq instrument, it’s a perfect combination here – accurate models of the filter (and VCA), plus details you wish the original had (like additional envelope types). There’s also a modeled BBD chorus, and yes, this one also does MTS-ESP and MPE.


Piano V

Piano V is a gem, too, in the rebuild. I was never as sold on the original; this is the first one I really enjoy playing, especially with all the possibilities you can get out of “Advanced” mode.

I do absolutely recommend clicking out of the pretty picture of a piano in a gallery or living room and doing that, as there are tremendous, expressive controls that can make these instruments feel more realistic or more creative/experimental. I also think it makes loads of sense to turn off the aggressive Limiter, which tends to flatten the sound of the instruments too much. (I wish they’d included a ‘lock’ feature for that switch, as on dry/wet on the FX Collection.)

The re-built instrument here is absolutely worth a look. It’s the first time the Piano V for me has rivaled my other favorite, the all-modeled, not-sampled (so lighter on your hard drive) Modartt Pianoteq. Having the two together makes me fall in love with pianos all over again.

The “Timbre” control makes it – uh, the picture here is definitely not necessary. But you will find all the usual piano models, plus a few exotic choices.
Here’s where the fun is – physical modeling parameters.
And yes, effects. Not just one generic reverb – tons of options with very different flavors.

And as with some of those other instruments, you get controls for resonance, mic placement, a whole mess of different possible reverbs including Arturia’s excellent plates (but other environments, too), a compressor that I think you should use instead of that limiter switch, and more. You can also get a lot of lo-fi effects out of these pianos, as well as uniquely controllable detuning – of strings with one another, and of the whole instrument.

It’s actually the only instrument I’ve ever played that offers intuitive control from stretch tuning “the piano tuner just left the piano bench before a concert at Carnegie” to lots of detuning all the way to experimental / spaghetti western saloon / left in a building that was in a flood / whatever. And I do mean continuous – you can dial up exactly what you need really without knowing anything about tuning, or in some in-between spaces that you find intuitively.

Here’s a quick jam, with still more Efx FRAGMENTS (with CMI glitches enabled) and a subtle touch of Delay TAPE-201:


V Collection demonstrates the value of a pay-to-own suite, instead of something like a subscription. It’s really up to Arturia to give you reason to upgrade with that model – and this year, they really delivered. For retro lovers, the MS-20 and integrated SQ-10 are an easy sell – and KORG, for their part, continue to cement their beloved brand on every platform from DS to plug-in to short-run hardware.

But more than that, I appreciate that just as Arturia evolved from software to hardware and hybrid company, they’ve made the shift from virtual recreations to original instruments – and some compelling space in between. With all the extra waveforms, the SQ80 feels like a retro-tinged Pigments of sorts, or an SQ80+ if you prefer. The Piano V engine now really has come into its own as a physical modeling instrument. Full tuning and MPE support help bring software into the 21st century and support expression and inclusive musical practices in ways we’ve long anticipated.

And the Augmented series gives a tantalizing look at what’s possible with futuristic instruments. These digital creations benefit from a lot of the detail work done on modeling vintage instruments, so what we get are new hybrids.

It feels like just how you’d outfit a dream studio in hardware – just the right combination of old and new. With a little work to play these from Arturia’s own controller hardware or, even better, your favorite MPE-capable instrument, we’re spoiled in the search for new sounds.

V Collection 9



Some great videos here on how to navigate this stuff:

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William Orbit announces first album in over eight years

William Orbit has shared details of his first album of new material in eight years.

Out on 26th August, ‘The Painter’ includes a number of vocal collaborations with artists such as Beth Orton, Katie Melua, Ali Love and Georgia. Polly Scattergood guests on the 13-track album’s lead track, ‘Colours Colliding’, which you can listen to below.

On making the album, Orbit said in a statement: “I had been away from music making for some years, holed up in a beach town in California, painting, and writing about my life and reflecting on general observations. Then, back in London, inspiration struck with a vengeance. I was feeling the same spirit as I had in the mid-’90s.

“It was a blessing to have the exquisite contributions from the artists who appear on the album. And a thrill to explore new technologies. It is one of my very best, with the difference being gaining an understanding of a totally new landscape of means to present it to people’s ears.”

The album takes its name from a flyer that Orbit saw while making the record that read ‘vino and Van Gogh’. “You turn up, get drunk and mess around with cheap acrylics,” Orbit said. “I fell in love with it!”

He’s also described the record as “a very painty kind of album”. Adding that he has plans to tour the album, Orbit said of the process behind making the record: “I like making music again!”

A remix by William Orbit of Madonna will soon feature on a new retrospective compilation of the latter’s work.

Glastonbury travel to be disrupted by nationwide train strikes

People heading to Glastonbury festival later this month may have to reschedule their travel plans following the news that rail strikes will go ahead across three days this month.

The RMT union announced this week that “over 50,000 railway workers will walkout as part of 3 days of national strike action later this month, in the biggest dispute on the network since 1989”.

The strike is scheduled to take place on 21st, 23rd and 25th June. This means that those travelling to Glastonbury, with the event taking place from 22nd-26th June, will likely face some disruption if they intend on using public transport.

Speaking out about why the strike action had been called, RMT General Secretary Mick Lynch said: “Railway workers have been treated appallingly and despite our best efforts in negotiations, the rail industry with the support of the government has failed to take their concerns seriously.

“We have a cost-of-living crisis, and it is unacceptable for railway workers to either lose their jobs or face another year of a pay freeze when inflation is at 11.1% and rising. Our union will now embark on a sustained campaign of industrial action which will shut down the railway system.

“Rail companies are making at least £500m a year in profits, whilst fat cat rail bosses have been paid millions during the COVID-19 pandemic. This unfairness is fuelling our members’ anger and their determination to win a fair settlement.”

Responding to the strike action, Andrew Haines, of Network Rail, said: “There are two weeks until the first strike is planned. We will use this time to keep talking to our unions and, through compromise and common sense on both sides, we hope to find a solution and avoid the damage that strike action would cause all involved.”

Set-times for this year’s Glastonbury were revealed last month, following the line-up announcement of various areas of the festival site such as Silver Hayes and Block9. The Pyramid Stage at this year’s festival will be headlined by Kendrick Lamar, Billie Eilish and Paul McCartney.

Black Corporation Intros XERXES MK2 8-Voice Polyphonic Analog Synthesizer

Black Corporation has opened pre-orders for a new version of their XERXES 8-voice analog synthesizer.

“We are starting the preorder for our second run of XERXES, which will also be getting the MK2 treatment,” notes Black Corporation’s Roman Filippov. “Because of the semiconductor shortage and their increased prices, this run will be limited to 100 black edition units and we are required to raise the market price of the synth. To make up for the price increase, the new and improved XERXES will have a completely updated VCA section, balanced outputs, and audio over USB, in addition to several improvements under the hood.”

The XERXES features digitally controlled analog oscillators per voice, a multimode analog filter, white and pink noise generator, 2 ADSR envelopes, 2 sync-able LFOs, unique analog BBD chorus with 3 modes, full MPE-based polyphonic aftertouch, and complete MIDI control, including polyphonic aftertouch and MPE.

Pricing and Availability

The XERXES mk2 is available to pre-order, with a total price of $4499, including worldwide shipping.

Reloop launches new flagship four-channel controller Mixon 8 Pro

Reloop has released a new flagship controller for Serato DJ Pro and Algoriddim djay. The Mixon 8 Pro features four channels of control, on-jog displays, dual audio interfaces plus a standalone mixer built in. There are four FX paddles for quick triggering and a three-band EQ per channel, plus a dual-pass filter. Inside the unit, there’s a standalone mixer that can be sued without a laptop, with two phono amps and four line ins. As we mentioned, there are two soundcards inside, both using USB-C, so you can switch over sets without dropping out the audio. Outputs include master XLRs as well as ¼” jack outs and RCA. 

There are eight performance pads with all the usual modes you might expect such as hot cues, FX pads, sampler, loop roll and others that are specific to the software, such as triggering djay’s AI-powered stem separation Neural Mix. 

The controller has a high-end finish with a brushed metal case and metallic transport buttons. There’s also a built in iPad dock for controlling Algoriddim djay directly from the unit via the USB-C port. 

The Mixon 8 Pro costs £1,149 – visit the Reloop website for more info. Watch the video below for more. 

Algoriddim also recently updated their djay app to support DVS control.

Jamal Edwards’ mother confirms cause of death, launches trust in his honour

Jamal Edwards’ mother has shared a statement about her son’s cause of death.

Speaking publicly for the first time since a family statement confirmed the SBTV founder’s death, Brenda Edwards said: “I have sadly learned that the cause of Jamal’s devastating passing was due to cardiac arrhythmia caused by having taken recreational drugs. I wanted to address this myself to everyone who loved, admired and respected my son.

“Since finding out the news I’ve been in a state of shock, and I’m still trying to process it, but it’s so important to me that I do address it as no mother or any loved one should have to go through what Jamal’s sister, Tasha, and I have been through since he passed.”

Jamal Edwards passed away in February at the age of 31. As a founder of SBTV, he had helped to launch and nurture the careers of artists such as Ed Sheeran, Stormzy and Dave, among others. He was also awarded an MBE in 2014 for his work in the music industry.

Speaking further about the cause of Jamal’s death, Brenda, who is a panellist on ITV show Loose Women, said: “It’s so important that we help drive more conversation about the unpredictability of recreational drugs and the impact they can have. How it takes just one bad reaction to destroy lives. I would do anything to have my son back but that is just not possible so if I can help save one life, then we will have achieved something.”

Following Jamal’s passing, Brenda has launched a trust in his honour. “With the recently launched Jamal Edwards Self Belief Trust, we will continue to not only honour his name but to help those in need,” she said of this move. “The Trust is in place to help create a sense of community for young people, offering a safe space of their own to help develop their skills and explore who they are.”

Find out more about the Jamal Edwards Self Belief Trust here, and read Brenda’s full statement below.

Day N Vegas announces 2022 line-up, headlined by SZA, J. Cole, Travis Scott

Las Vegas festival Day N Vegas has confirmed its return for 2022, with SZA, J. Cole and Travis Scott set to headline this year’s event.

The festival, which returns to its Las Vegas Festival Grounds home from 2nd-4th September, will also take in performances from Baby Keem, Jhené Aiko, Playboi Carti, Syd, Pink Siffu, Chlöe, H.E.R. and 21 Savage. Find more information about this year’s Day N Vegas here.

Scott’s appearance at this year’s festival comes after he cancelled his scheduled headline set at last year’s event following the Astroworld tragedy, which happened shortly before. Kendrick Lamar and Tyler, The Creator headlined last year’s Day N Vegas.

Earlier this year, Travis Scott pledged almost $5million to an event safety initiative following the Astroworld crowd crush.

Project GLOW paves path to Philadelphia sequel featuring A-Trak, Jai Wolf, ILLENIUM, Dombresky, and more

Project GLOW paves path to Philadelphia sequel featuring A-Trak, Jai Wolf, ILLENIUM, Dombresky, and moreIvan Meneses For Insomniac Events 9

After a lauded first installment in Washington, DC from April 30 – May 1, Project GLOW organizers have formalized the talent that will soundtrack the festival’s Philadelphia offshoot. From October 1 – 2 at Subaru Park in Chester, Pennsylvania, a diverse array of dance/electronic acts, including Alison Wonderland, ILLENIUM, Marauda, Martin Garrix, and Dombresky, among others, will deliver sets.

The Project GLOW Philadelphia lineup notably leans more into the back-to-back format than that of its DC predecessor; A-Trak is slated to share the decks with a currently anonymous comrade. Dom Dolla will sonically rub shoulders with Green Velvet during the weekend, with Habstrakt/Good Times Ahead, HE$H/Calcium, Hydraulix/Leotrix, and GG Magree/Mija (So Tuff So Cute) to follow suit.

Insomniac and Club GLOW, the organizers behind Moonrise Festival, appear to have taken cues from the bass-driven positioning of Moonrise’s annual programming. Bass and dubstep have healthy representation on the Club GLOW Philadelphia lineup, with Ekali, Zomboy, and Kai Wachi serving as a small sample of the lineup’s wub-friendly invited artists.

Project Glow DC’s lineup materialized as one of the 2022 festival circuit’s least-recycled rosters of talent, with a strong undercard. The Project GLOW Philadelphia lineup continues this trend, offering a fresh, genre-diverse collection of acts and forward-thinking back-to-back pairings that, together, bode well for Project GLOW’s continued recognition as one of the more curatively innovative events of the East Coast’s Mid-Atlantic region.

Tickets to Project GLOW Philadelphia are currently available for purchase here. Read Dancing Astronaut‘s review of Project GLOW DC here.

Featured image: Ivan Meneses

The post Project GLOW paves path to Philadelphia sequel featuring A-Trak, Jai Wolf, ILLENIUM, Dombresky, and more appeared first on Dancing Astronaut.

Algoriddim djay AI lets you play separated stems directly from timecode vinyl

Algoriddim djay is one of the world’s most popular DJing apps, especially for beginners. It offers everything you need to get started with the fundamentals of DJing, with heaps of extra features under the hood once you’ve mastered the basics. They also launched a very impressive stem separation feature called Neural Mix in 2020, meaning you could use AI to instantly separate an acapella, an instrumental, drums, basslines and more from a fully mixed stereo file. 

Now, the company is not only adding DVS to djay, making it the first time you can use timecode vinyl to control a DJ app on a mobile device, but they’re also introducing a special vinyl that uses AI tech to separate the stems directly from the timecode. That means by jumping the needle across the tracks on the reverse side of the record, you can instantly have an acapella or an instrumental to immediately start scratching without having to use your controller or mixer to do the separation. 

It’s an incredibly impressive concept and will be a dream solution for turntablists who can now access acapellas from any track directly from their timecode vinyl. DVS control is supported across a series of mixers including Reloop ELITE, Pioneer DJ DJM-S3 and S5, A&H Xone:96 and more.

Watch the video below to see it in action, and head to the Algoriddim website to learn more.