As countless sets from EDC Las Vegas‘ 2022 edition continue to find their way onto YouTube and SoundCloud—both officially and unofficially—Insomniac has taken it upon itself once more to share recordings in the highest quality possible. Just as it did for its 25th anniversary back in October, Insomniac has now uploaded more than 50 sets that happened within the Las Vegas Motor Speedway in lossless form—meaning the original file quality—via Apple Music .
Pangaea is releasing his first new EP in two years this September via Hessle Audio, the label he co-founded with Ben UFO and Pearson Sound. Listen to the A-side, ‘Fuzzy Logic’, below.
‘Fuzzy Logic / Still Flowing Water’, out 10th September, also marks the label’s first release since 2020, when it put out EPs by Laksa, Anz and Pearson Sound, as well as Pangaea’s own ‘Like This‘ 12-inch.
Pangaea, real name Kevin McAuley, will be making a number of appearances on the summer festival circuit alongside the Hessle crew as the trio celebrate the 15th anniversary of their influential UK label. So far they’re set to host Hessle showcases at festivals like We Out Here, Outlook UK, Dekmantel and more.
Fans have the opportunity to enter below for a chance to win a pair (2) of tickets to the weekend’s festivities at Parc Jean-Drapeau, equipped with a merchandise pack of îLESONIQ swag, and a meet-and-greet experience with SIDEPIECE onsite. îLESONIQ runs August 5 – 7, enter here to win.
Ibiza is getting its first Afro house residency, helmed by Defected’s Sondela label at beach club Bora Bora.
Label heads Sef Kombo and Louie Dunmore will lead the Monday night party, which opens on 4th July and runs through 29th August. The complete DJ line-ups are still under wraps, but expect key figures from the London Afro house scene like Kitty Amor, who’ll round out the trio of residents.
Defected Records launched Sondela with Dunmore and Kombo in January 2021 to highlight Afro-house sounds, with all profits donated to Bridges For Music. So far they’ve shared a steady stream of releases on Bandcamp, a vinyl compilation EP and hosted parties at London venue Ministry Of Sound.
Read Ria Hylton’s recent long-read on the UK Afro-house renaissance here. Watch Sef Kombo and Kitty Amor’s set from DJ Mag HQ here.
A new track by the late Mobb Deep rapper Prodigy called ‘You Will See’ has been released. Listen to it below.
It’s part of the upcoming posthumous album ‘The Hegelian Dialectic: The Book of Heroine’, expected out sometime this summer. It’ll continue on from Prodigy’s final solo album, ‘Hegelian Dialectic (The Book of Revelation)’, released months before his death at age 42 in 2017. According to Billboard, Prodigy’s estate says the album will serve as the second part in a ‘Hegelian Dialectic’ trilogy, with a third act subtitled ‘The Book of the Dead’ likely to come in 2023.
This follows recent news that Prodigy’s catalogue is now available on streaming services again as his estate reached an agreement with Warner Music Group’s ADA. “We would also like to thank the community of hip-hop artists who came together to help us assemble Prodigy’s last projects,” a representative of Prodigy’s estate said in a statement to BillboardI. “The music belongs to all of you and we are glad we can make it available again and forever.”
Prodigy was half of NYC duo Mobb Deep with Havoc. The final Mobb Deep album with both members was 2014’s ‘The Infamous Mobb Deep’. Billboard reports that a new Havoc-led Mobb Deep album is “currently in the works”, too.
Listen to the new Prodigy release, ‘You Will See’.
It looks like another budget semi-modular, but look closer: Moog’s latest is a distillation of a lot of what distinguishes a Moog modular voice, with some significant twists (wavefolder!). And it can work on its own or as an ideal companion to other patchable instruments. Let’s break it down.
I’ve gotten to spend some time with a review unit of the $349 Moog Mavis, plus had a briefing from Moog in Berlin around Superbooth. It’s a really compact unit you assemble yourself in fairly short order. Once put together, it’s compact as a desk unit – about the size of a paperback novel, or 44HP in Eurorack scale. You can comfortably hold it in one hand. But it’s sturdy-feeling and even those basic pots are smooth and solid, and heavy enough that it stays put while you’re using it.
It’s really the budget price that stands out, of course – closer to Werkstatt in lineage than even Mother-32 or DFAM or Subharmonicon.
And the key here is you can really use it in a number of ways. It is a standalone monosynth with semi-modular patching if you want it to be. Or you can set it alongside other semi-modulars or patchable desktop stuff from Moog and others. Or you can bolt it into a Eurorack rig – it uses the +12V rail and draws no more than 175 mA. Moog are even unveiling a line of patch guides for some of their instruments. (They don’t cover Matriarch, so I’ll try to make up some patches for that.) And yeah, while you’ll see lots of Eurorack in the demos, quite frankly you’ve got serious patching possibilities with even just desktop stuff.
Here’s what surprised me, and what I’ll take a little longer to try to convey in some sound samples for a separate story: this thing can get dirtier than you might think. Oh sure, you think – tiny box, buttoned-down, nice, hipster Moog instrument being polite and traditional and whatever. Actually, with that wavefolder, the low-end response of the instrument overall, and the ability to crank all sorts of (freely patchable) modulation, this thing can get nasty. It’s part of what I liked on the high-end Matriarch, the ability to push the envelope, but it’s even embodied here once you dive into patching.
And that honestly is what had disappointed me about otherwise promising instruments from competing makers lately.
The Mavis doesn’t do everything – no sequencer, for instance, though they do include patches for patching up one, which is sort of the point. (The Subharmonicon or DFAM might solve that, among others – or you could plug an Arturia KeyStep or BeatStep gadget into this, too.) But the efficiency of this little design is also appealing, even if that isn’t obvious to everyone at first.
Let’s break down what it does.
What to know
Mavis really does feel like a baby Moog modular – somewhere between historical Moog modules and more modern renditions. A lot of devices try to pull that off, but this one also has the circuitry to pull off the sound and behavior.
Analog oscillator. 8 Hz – 8 kHz, variable wave shape (SAW – PULSE), pulse width. Add to that pitch and pulse width modulation with variable amount for each, plus the ability to mix both at once (VCO MOD MIX).
Analog filter. Low-pass audio filter – yeah, of course, you get another version of the 4-pole / -24dB Moog ladder filter with resonance. Now here’s where I really wish we had a multimode filter or some twist – I would gladly have sacrificed that keyboard on the bottom. But you get more than just vanilla ladder filtering, thanks to modulation. There’s a bi-polar variable VCF MOD AMT control (meaning you can do inverse modulation), and you can mix modulation from the envelope generator and LFO (VCF MOD MIX), just as on the oscillator.
Filter modulation means there’s no reason to just do plain-boring ladder filter stuff. And that’s even before you start messing with the patch bay.
LFO. Again with variable waveshape, TRI – SQUARE. It’s an audio-rate LFO.
Envelope generator. Attack Decay Sustain Release, patched by default into the amplitude, but also a patchable source.
VCA. The twist here is, you get a VCA MODE switch (as on Matriarch, for instance), so you can make a solid tone / drone, and route LFO and EG elsewhere.
Monophonic keyboard. Soft-touch pads – does what you expect, with scale and glide.
Fold. Here’s where things get interesting. You need to patch this in to hear anything (VCO – FOLD IN being an obvious choice, though there are others). Once you do, you get a very nice (or gnarly, if you want) wavefolder, with a variable control. (Did I turn it up all the way? I did.)
Mixer. This is probably not obvious at all, but the thing called ONE LVL is actually a two-input / one-output mixer. The jacks that say ONE and TWO feed the mixer, and ONE+TWO is the output.
That deceptively simple feature is at the heart of some of the usefulness of the Mavis for patching instruments, especially because the ONE LVL knob you can also potentially overdrive in some pleasant ways, which is something I exploited in my Matriarch patching. And just being able to mix right on the Mavis is handy – whether on an internal patch or in use with another gadget.
Attenuator. Patch into ATTN +5, and you can reduce signal at ATTN out.
Sample & Hold. You won’t see a separate S&H section on the panel, but it’s there – by default, the S&H circuit is driven by the VCO as sample source (meaning the waveform is adjusted with VCO WAVE) and the LFO as the default gate input. But those are patchable to other stuff – see below.
13 ins, 11 outs, outs shown with text on a white background. Here they are:
Keyboard CV out
1V/octave (your basic pitch modulation)
Pulse Width Modulation input
Mixer inputs ONE, TWO
Mixer channel 1 output (so if you patch into input ONE, you can also just use the mixer to scale the amplitude of the output at output ONE)
Mixer output (ONE+TWO)
LFO rate input
Cutoff frequency input
Gate input (triggers the envelope generator)
VCA input (level of the VCA – so you could use this for amplitude modulation)
S+H gate input
Attenuator input (attenuate whatever you like – but even without this patched, the ATTN output jack will give you a control signal of 0-5V based on where you set the attenuator knob)
MULT out 1, 2
A lot of these are normalled to useful patches already, making Mavis playable right out of the box.
But you’ll see you get a ton of stuff “for free” on this little device – a couple of simple attenuators (MIX ONE and ATTN in/out), a 1×2 mult for duplicating a signal, and a sample & hold circuit. And you’ve got this handy wavefolder. And you’ve got the Mavis’ envelope generator and LFO for adding wherever you need.
So it’s an analog voice you can add to anything, but it’s also a utility module you can add to anything. Do other devices out there do that? Sure. But you’d be hard-pressed to find one as good-sounding, versatile, and well-documented as this little box.
In exchange for that, you do lose some patch points – you can’t patch VCO or LFO waveshape, for instance, that you have to do with the pot. But at this price, it’s hard to complain.
PS – you can recalibrate the 1V/OCT and (even, if you’re really kind of… obsessive) the keyboard to other gear, via included documentation and tool. (Note the holes next to PITCH and KB SCALE.) Most of us will probably be fine leaving it as-is, though.
Assembly is pretty simple – this is a fast-build job more than a kit per se; you do the whole thing with a Phillips-head screwdriver. The process:
Attach some stick-on feet
Attach the PCB to the front panel with screws
Attach that to the chassis with screws
Add the hex nuts onto the jacks
And that’s really it. (Okay, there’s a stick-on serial number label.)
In the box is the power supply, all the necessary parts, and the calibration tool. Plus, bonus, you get:
A fitted protective lid
Some short green patch cords (fine for this on its own, though I think you’ll want a fistful more if you start to get ambitious)
A pretty poster
A bunch of patch sheets
A cute fold-out starter guide with a talk with designer Steve Dunnington, assembly instructions, and basic walkthrough, though you’ll also want to check the (online manual)
A Moog sticker
There’s a bunch of additional documentation – a “patching with intention” guide online, patchbooks for the Mavis solo and Mavis with Subharmonicon, Mother-32, and DFAM, and a really thorough manual. It’s almost all that additional care that you’re investing in with their gear.
I mean, to me it’s clear what makes this a winner. It could have come out really dull, but adding crossfader knobs on modulation, that delicious wavefolding circuit, and all the utility patch points into a well-balanced package shifts this into must-own territory.
There’s another side to all of this. With the whole industry facing serious production shortages, the other thing I like about the Mavis is that it instantly adds life to any other gear around you want to patch into – at a budget that’s within reach of a lot of people. So even though this has a dust cover, I like the idea that it won’t gather dust – and it could reinvigorate some of the gear you already own that might need brushing off.
It’s probably overkill if you have similar modules around, to be sure. But especially for those of us doing some of our patching in the desktop domain – or anyone missing some of these particular utilities or Moog flavor – it’s an easy call.
Anyone who knows me will not be surprised that I’m partial to Silent Servant and the second Acemo and Arushi Jain compositions, but kudos to Moog for covering a musical spectrum. Now I think CDM needs to do a trashier series where we shoot everything on some awful old DV cam in some grimy environments so everything doesn’t look and sound so… nice.
Bitter Babe and Nick León have released a new collaborative EP, ‘Delirio’, on Florentino’s Club Romantico label. Check it out below.
‘Delirio’ finds the producers blending global club styles with a high-energy, percussive flair; three original cuts combine elements of Colombian guaracha, Venezuelan raptor house and the Afro-Dutch bubbling sound.
The EP also features two remixes, from bubbling pioneer De Schuurman and DJ Python, who puts a deep, sumptuous spin on the EP’s thumping title track.
It’s the fourth time the Miami-based artists have teamed up on a release, following their ‘Fuego Clandestino’ EP on Colombia’s TraTraTrax label and a remix of Isabella Lovestory & Florentino’s ‘Fuego’. Another collab from the pair, ‘Ecotone’, features on Anthony Naples and DJ Python’s recent contribution to the ‘Air Texture’ compilation series.
Bitter Babe is a Bogatá-born DJ, producer and member of the ECO and Latitudes collectives, whose work focuses on interdependence and amplification of electronic artists and labels across Latin America. Check out her mix for Untitled 909 here.
Nick León is a DJ and producer whose music has been released on labels such as NAAFI and Future Times. He’s had production credits on tracks by the likes of Rosalía, and his own Bandcamp is bursting with future-facing club music that blends snapping percussion, reggaeton rhythms and mutated techno with Miami bass, electro and more. Dig into his collection here.
Moog Music today introduced Mavis, an all-in-one semi-modular analog synth voice in Eurorack format.
Mavis is a DIY synth (no soldering required) that offers an affordable, but powerful, synth voice, with classic Moog sound. It can be used as a standalone synth, or removed from its case to be used as a 24-point CV-controllable 44HP Eurorack module.
Mavis brings new sonic capabilities to Moog’s palette of Eurorack systems.
The compact synth features Moog’s archetypal oscillator and filter circuits, but also features a diode wavefolder, the first analog wavefolder to appear on a Moog instrument. Combining traditional subtractive synthesis with additive wavefolding means that Mavis takes the traditional Moog sound into new territory.
With Mavis, users of any skill level can quickly build an analog synthesizer, with minimal tools and experience. No soldering is required. Once the instrument is built, Moog introduces you to the synth’s capabilities through a selection of patch books and educational materials, designed to encourage creative patching and sound design.
24-Point Patch Bay: Mavis features a useful collection of utilities and flexible control voltage routing.
Full Range Analog Oscillator: Mavis’s Voltage Controlled Oscillator (VCO) with pulse-width modulation (PWM), waveform mixing, and mod source mixing delivers rich harmonic character and motion.
Voltage Controlled Filter: Sculpt your sound with the -24dB Moog Low Pass Ladder Filter, delivering the sonic power behind the distinct sounds of Moog basslines and leads.
Audio Rate LFO and 4-Stage Envelope Generator: Mavis uses crossfaders in its modulation routing instead of switches, allowing you to blend between a variable shape LFO and 4-stage envelope generator, for interesting and unusual modulation contours.
Wavefolding and Modular Utilities: Mavis features Moog’s first-ever wavefolding circuit, allowing for additive synthesis to sit alongside traditional subtractive synthesis, and features a broad modular utilities section, complete with attenuators, offsets, mults, and a flexible DC-coupled mixer.
Patchable Sample and Hold (S+H) Circuit: This circuit generates a random CV pattern that can be patched to modulate other parameters, including setting Mavis into a “random sequencing” mode of performance.
Protective Cover: Mavis includes a fitted protective cover for use during studio downtime or taking your instrument on the go.
Seamless Configuration with Eurorack Systems & Moog’s 60HP Semi-Modular Synths – In 44HP, the synthesizer offers two oscillators, full ADSR, ladder filter, sample and hold, wavefolding, attenuators, mixer, mults, and much more.
Moog Mavis Audio Demos:
A Nod to Moog’s DIY Beginnings
Moog notes that Mavis isn’t the first DIY instrument from Moog – in fact, the company was built on the build-it-yourself kit.
In 1949, a teenage Bob Moog discovered a copy of Electronics World that featured an article with details on how to build an electronic musical instrument at home. Shortly after, he built his first model of the instrument, a theremin, from plans published in the magazine. By 1953, Bob and his father established R.A. Moog to market and sell theremin kits out of their home in Queens, NY.
With the release of Mavis, Moog celebrates its roots by providing the end user with the unique experience of constructing their own instrument. Every Mavis is custom built and hand assembled—like the instruments Bob Moog built years ago and the synthesizers and theremins that Moog’s employee-owners assemble by hand to this day.
Pricing and Availability:
The Moog Mavis synthesizer is available now for $349 USD.
Sonny Fodera has shared his most-anticipated single of the year, “Better,” via his very own Solotoko record label. Premiered during Fodera’s set at Insomniac‘s Skyline Festival in Los Angeles in February, “Better” is his answer to April’s “Need U” with Raphaella.
“Better” features sing-a-long vocals in classic Sonny Fodera fashion, with progressive synths. Perhaps the highlight of the tune is the piano chords that lead up to the final build before groovy drum work kicks in.
As Fodera gears up for his Amnesia Ibiza residency this summer, “Better” enters his enticing catalog of house tunes as ample reason to catch him live on the White Island. Stream his new single below.
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