Hot visual patch summer: adds character camera control, new physics, remote viewing

The free browser-based patching environment for visuals has one hot summer update. New ray casting and the power to walk around and walk into walls.

Here’s the quick version:

ammo.js JavaScript port of the bullet physics engine – new Ops now, more in the future (Ops.Physics.Ammo). That means –

Physics tricks. Bodies, body collisions, world, characters, a character-controlled camera. So you can take AmmoCharacter and fire up the trusted WASD navigation and wander around a space with collisions (see the demo in their blog post).

Augmented Reality features. Remember the days of coding and patching a bunch of tracking features that didn’t work, or desperately trying to hack into the Kinect? Uff. Nowadays, there’s Google’s MediaPipe library in the browser, which fluidly tracks bodies, faces, heads, and hands. It’s spooky good. It’s how we imagined it would work.

So that’s now integrated directly in, which is huge. (I’ve been playing with a tech demo in some of my workshops just to pipe out MIDI – see HandMate.) Can’t wait to check this out.

Improved Webcam, new MultiCam. There are tons of improvements to webcam support, which pairs nicely with the augmented reality stuff (and any video input application). And there’s the ability to choose from multiple cameras with the possibility of using multiple cameras in a single patch.

Remote viewing. No, not the psychic one. This means you can make live connections across a bunch of devices for testing or projection or multiuser patching. Wow. So now having this all be browser-based suddenly makes loads of sense. (They do warn this stuff is new, so consider it in testing phase.)

There are also 50 Ops updates based on improved Image Compose, which appears to offer more advanced texture manipulation and shader generation as far as dealing with aspect ratios, masks, color, alpha, and parameters.

And yes, more PBR material features. A bunch of new physically-based rendering and lighting and tone mapping stuff to make your materials look nicer.

They also promise a ton of improvements to workflows, rendering, integrated help, making stuff more visible and easier to use in the editor.


  • Improved website (which is key in a web-based app!)
  • More visible license info for patchers, other community support improvements
  • Open Type fonts and geometry extrusion (90s vibes coming on here)
  • QRCode support and OS sharing
  • fxhash integration for blockchain fans
  • … and more

This is just an enormous release:

But hey, it does run on multiple devices, so northern hemisphere folks can still explore it in the park with a lemonade or beer.

Here’s a key tutorial to check out, as well, published recently:

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PS, write-up on new Jitter stuff coming soon, as well, and my TouchDesigner expert friends have new stuff in that territory, too.

Making AR and AD Envelopes with an ADSR – Featuring WMD Javelin

Synth module makers WMD recently released a video showing how to make AD and AR envelopes using an ADSR envelope + VCA module.

In this video, WMD’s Alex demonstrates the differences of each style of envelope and how to make them with the WMD Javelin Envelope + VCA combo.

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Alex explains what’s happening in the video:

“Snappy” is a subjective term commonly used to describe the way an envelope sounds. It can be likened to word like quick, fast, plucky, blippy etc. AD envelopes are known for their snappy qualities and strengths in making percussive blips and bongo like sounds. The javelin has lots of really unique options for an envelope like Accent, voltage levels, time ranges, and a mode switch that makes it act much more like a triggered A/D than your common ADSR. A super versatile module for all sounds and styles of synthesis.

We then go a bit deeper into what this type of envelope can be used for and introduce the WMD C4RBN filter to create a low-pass gate inspired patch.If you’ve ever wondered if the filter goes before or after the VCA, Alex shows examples of both and explains why you might want to do it one way or the other.

This is one of a slew of instructional videos on WMD’s YouTube channel.

Here’s another about the Javelin module, but instead of making “snappy” envelopes, Alex is creating very slow, long Eurorack envelope signals:

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The modules demonstrated in the videos are available via the WMD website.

The Chainsmokers, Ship Wrek relinquish coveted ID, ‘The Fall,’ formerly known as ‘Emotions’

The Chainsmokers, Ship Wrek relinquish coveted ID, ‘The Fall,’ formerly known as ‘Emotions’IMG 5655

Nearly one month to the date of So Far So Good‘s May 13 release, The Chainsmokers are providing the first preview of the deluxe version. The deluxe album format has long been embraced across genres—pop, in particular. A means of stepping back into the LP’s sound and feel, the deluxe format is an auxiliary, and for artists like The Chainsmokers, it’s the stick with which a creative can draw a line in the sand, however faint.

Upon the revelation of So Far So Good, Andrew Taggart and Alex Pall told Apple Music that the project’s lack of featured collaborators was a choice aimed at defining what The Chainsmokers sound like now, in 2022. “I think we really wanted to put out an album that’s like, this is The Chainsmokers,” Taggart said in an interview with Zane Lowe.

The decision effectively ousted an ID initially known as “Emotion” from the So Far So Good tracklist, owed to its status as a joint project with Ship Wrek. And listeners noticed. In fact, the short-but-sweet social campaign for the song, since christened “The Fall,” was a shuffle of fans’ comments, the wording different, but the sentiment the same: “When is ‘Emotions’ coming out?” The answer is now apparent to everyone, as the single—three years in the making, per The Chainsmokers—hits digital streaming platforms as the first of three tack-on So Far So Good tracks to come on the deluxe version of the LP.

Sonically, “The Fall” is a seamless, natural extension of much of what was heard on The Chainsmokers’ fourth full-length album. Judging by the sound of “The Fall,” in its somewhat tweaked final form, that line in the sand is indeed faint, but it’s useful. With it, The Chainsmokers are able to preserve the collaboratively unadulterated character of their first album in three years while increasing its impact. “The Fall” dovetails below.

Featured image: The Chainsmokers/Instagram

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Contextualizing the comeback: 10 takeaways from Stööki Sound’s Reddit AMA

Contextualizing the comeback: 10 takeaways from Stööki Sound’s Reddit AMAPurple Contrast

In 2019, Stööki Sound announced their abrupt retirement from the music scene.

Formed in 2011, the duo helped define and advance trap in dance/electronic contexts. For more than seven years, Stööki Sound’s DJ Lukey and Jelacee turned in tracks that remain some of the genre’s most iconic; “Ball So Hard” with Hucci is but one example.

Now, Stööki Sound is back, and the “Stööki Movement,” as they called it in an exclusive interview with Dancing Astronaut, is mobile once more. In a Reddit AMA, Stööki Sound discussed their return to the trap landscape. Below are 10 key takeaways from the Q&A session and their comeback single, “Lost.”

They decided to release music because “the world just needed banging trap again.”

Their producer tag was a thing of serendipity.

When asked if they would return to touring and playing live shows, their answer was resolute:

Unsurprisingly, the COVID-19 pandemic afforded the time necessary to reflect and refocus the artist project.

DJ Lukey’s favorite track of their own is 2015’s “W2L (Welcome To London)” with TroyBoi. Jelacee’s is 2016’s “Endz.”

Listeners can expect their sound to remain familiar, but it’ll also evolve and mature.

Currently, their favorite VSTs include Omnisphere and Kontakt.

They started a label imprint and are putting the pieces in place to begin mentoring up-and-coming artists.

Their “greatest creative achievement to date” is playing some of their favorite festivals—but they’re ready to supplant this with achievements to come.

Their favorite trap artists at present include Dancing Astronaut Artist to Watch in 2021 ISOxo and Dabow.

Featured image: Purple Contrast

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Oliver Heldens taps Tchami, Anabel Englund for thumping new single, ‘LOW’

Oliver Heldens taps Tchami, Anabel Englund for thumping new single, ‘LOW’Anabel Englund And Oliver Heldens By Jacob Barri

Anabel Englund‘s melodic vocals take centerstage on Tchami and Oliver Heldens‘ latest earworm, “LOW.” The American singer-songwriter recently performed a harmonious live rendition of the tech-house song on May 22 EDC Las Vegas.

“LOW” is a driving house cut that features intensely resounding bass, driving kicks, and rhythmic percussion. It’s worth noting that the tune, which debuted at Ultra in March, is not Englund’s first collaborative track with Oliver Heldens; she previously lent her breezy vocals to his critically acclaimed single, “Deja Vu,” last fall.

Englund and Tchami are both gearing up for respective performances at the HARD Summer Music Festival’s 2022 installment, to come to San Bernardino in July. Tickets are available for purchase now. In the meantime, listeners can stream the eagerly anticipated single below.

Featured image: Jacob Barri

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Crank it up: A noble and elegant simulation of playing French Horn for Playdate

We truly live in a golden age of indie game development, for we have a breathtaking, achingly realistic simulation of French Horn controllable by crank on the pocket Playdate.

Developer Thew delivers the good news:

Just add expensive studio time and a rented symphony orchestra to raise the stakes.

So, if you do have a Playdate – we all hate/envy you. If not, you can play via the SDK. Or simply breathe in the incredible commentary:

Learn to play the France Horn; the most elegant and elongated of the brass winds

Being an arguably musical instrument, mere .gif files are incapable of expressing the aural totality of the France Horn. One must crank the brass for oneself

Credits and more:

Now where’s Sackbut for Switch?

(Thanks, Anne!)

Hardwell turns fan-favorite Ultra ID into ‘Rebels Never Die’ halfway point, ‘PACMAN’

Hardwell turns fan-favorite Ultra ID into ‘Rebels Never Die’ halfway point, ‘PACMAN’283851912 1097736177446676 2912052087308214894 N

You know what Pac-Man stands for?

For those that were either standing inside Bayfront Park or viewing Ultra’s livestream from the comfort of their own home, there’s about a one million percent chance that speech during Hardwell‘s set about the childhood game has not left the mind since March 27. Of course, everyone has their own preference when it comes to which Rebels Never Die ID ultimately reigns supreme to them, but there’s an overwhelming consensus that “PACMAN” has sat towards the top of everyone’s wishlist from the moment it debuted in Miami. And considering we’ve now officially hit the midway point of the Rebels Never Die tracklist, there was no Ultra cut more fitting to be the seventh single from Hardwell’s sophomore album.

Sampling a monologue from an episode of Black Mirror: Bandersnatch, “PACMAN” opens with a thought-provoking, almost amusing take on a deeper meaning behind the Namco-engineered game before a rush of Hardwell’s half-and-half of bigroom and techno blows the door wide open. And “PACMAN” is even laced with the in-game sound that truly makes the single’s name as perfect as it gets, skyrocketing the Rebels Never Die bar yet again as Hardwell now turns the tracklist corner towards the backend of his first project since 2015. We’re still without any concrete information as to whether or not the Rebels Never Die rollout will follow the bimonthly single format all the way until its title track, but assuming it does keep up, “Mind Control” is on deck for June 24, which will arrive just two weeks before the Revealed Recordings head makes his next tour stop at Ultra Europe.

Featured image: Idan Horta

The post Hardwell turns fan-favorite Ultra ID into ‘Rebels Never Die’ halfway point, ‘PACMAN’ appeared first on Dancing Astronaut.

Premiere: Ngoni Egan ‘Difaqane’

Ngoni Egan will debut on Carista’s United Identities label this month with the ‘Re Teng’ EP. Listen to ‘Difaqane’ below. 

The Dublin-raised, Rotterdam-based producer’s latest five-tracker expands on the innovative electro and spacey techno sound he’s honed on releases for All City, THRUST and Winthorpe Electronics. Here, dub techno hums and crisp acid leads emanate from his analog hardware like curls of sonic smoke, while deep, galloping rhythms and thick bass grooves point to an artist whose tracks are destined for huge soundsystems. 

Across ‘Re Teng’, Egan pays tribute to his roots and familial heritage. Opening track ‘Kalahari To Fingal’ is named after the Kalahari desert in Botswana and the Fingal area of Co. Dublin, where Egan grew up. ‘Phase 2’ takes its title from a neighbourhood in Gaborone, the capital of Botswana, where Ngoni’s family originates from.

‘Difaqane’ is a phat electro jam named after a period of conflict in Southern Africa in 1810. With a bubbling bassline and snapping rhythm, it demonstrates Egan’s production technique at its tightest, toughest and best. Check it out below. 

‘Re Teng’  will be released on 23rd June. Pre-order it here

Moor Mother announces new album, ‘Jazz Codes’, shares new video: Watch

Moor Mother has a new album on the way, called ‘Jazz Codes’. 

The album, out next month, follows swiftly on from the Philadelphia artist’s last LP, ‘Black Encyclopedia Of The Air’, which was released in September of 2021. Taking in 21 tracks, it features a wide cast of collaborators that includes Mary Lattimore, Melanie Charles, Nicole Mitchell, YUNGMORPHEUS and Irreversible Entanglements, the free jazz ensemble of which Moor Mother is a member.

The album takes its name from a book of poems written in honour of jazz and blues icons like Mary Lou Williams, Woody Shaw and Amina Claudine Myers. It sees the US artists seek to explore free jazz and poetry within the principles of her self-dubbed Black Quantum Futurism collaboration-based practice.

Watch a video for the Melanie Charles-featuring lead track ‘WOODY SHAW’ below ahead of the full release of ‘Jazz Codes’ via ANTI- on 1st July.

Earlier this year, Moor Mother released her first album with DJ Haram as 700 Bliss on Hyperdub.

KMRU, Jessy Lanza, more remix Courtesy’s ‘Night Journeys’ on new EP

Courtesy’s debut EP, ‘Night Journeys’, is getting the remix treatment on the next release from her Kulør label.

The four-track remix package sees KMRU, Jessy Lanza and fellow Copenhagen techno artists Schacke and DJ IBON take on different tracks from the original EP. You can watch a video for IBON’s remix of ‘Night Journeys IIII’ below ahead of the full EP’s release on 26th August.

The original EP, an ambient trance release that marked Courtesy’s production debut, came out in March of this year. News of the EP coincided with the announcement of the Danish artist’s first five live shows which took place across May and the start of this month and saw her link up with visual artist Esben Weile Kjær. 

Earlier this year, Kulør released its first book, a photobook on Copenhagen by Danish artist and photographer Daniel Hjorth.