Videosync 1.2 for Ableton Live visuals overhauls Simpler and improves functionality

Ear candy’s not enough for you – you want that eye candy, too. So we’ve got the latest here for you, as always. New in Videosync for Ableton Live – tons of improvements and an overhauled Simpler visual sampling engine for this Mac-only Ableton Live AV tool.

If you are going to dive into visuals inside Ableton Live, part of the appeal is getting to work with those materials the same way you do with audio. That makes this family of tools compelling even alongside other visual tools, as a quick-jamming addition to your arsenal.

The problem is, making video work the way sound does is already a challenge – let alone in Ableton Live. So it’s encouraging that Showsync put in the time here to overhaul their engine from scratch to fix a number of issues.

In the process, not only do a bunch of bugs disappear, but you now work effectively with Max’s gl3 engine for OpenGL and get less-confusing feedback in the UI.

Also new in this build:

  • Tabula: Pitch Bend Range and UI improvements
  • Visual feedback when the transport is stopped
  • 1080p input device support

1.2.0 release notes in detail:

https://support.showsync.com/release-notes/#/videosync/1.2

Requires macOS and Live 10.1.13 or newer – though Intro+ will do something. (The full Suite or Max for Live license for Live gives you plugin support.) Full Universal Intel/M1/M2 native support.

I figure it’s worth bringing this up partly because I’m curious if folks had luck with this, and how you’re using it – or what tools you prefer.

Also, I do hope that some of these proofs of concept inspire the Ableton and Cycling teams to see if they can make AV functions in Max for Live more intuitive for developers. These tools work, but it’s not hard to imagine some AV widgets evolving over the time the way UI and Live Object Model have. Part of the hack-iness of these solutions is, Live’s UI widgets were not build to do this stuff.

In the meantime, though, these are a lot of fun. Hoping to sit down and finally finish a video or two; let’s see how it goes.

Their “Flowpage” is a nice way to catch up:

https://www.flowcode.com/page/showsyncsoftware

Previously:

Oh yeah, and if this isn’t for you, their tool Beam is very cool – think DMX, ArtNet, lighting fixtures, the lot:

https://beam.showsync.com/download

Batu’s En Masse Festival returns this month

Batu’s inner-city Bristol festival, En Masse, will return for a second year later this month.

Taking place from 20th-24th September, the festival will be spread out across six events at five venues in Bristol: Strange Brew, The Black Swan, The Trinity Centre, The Loco Klub and Cube Microplex.

Among the artists billed to play this year’s festival are Ben UFO, Josey Rebelle, Leif, SCALPING, k means, Dubkasm, Tom Boogizm and Batu himself. Bruce will also debut a new live set one night at Strange Brew.

Tickets for individual En Masse events are available via Headfirst. You can find the full breakdown of events, and get tickets, by heading here.

En Masse launched as a multi-venue Bristol festival in 2021 after plans to schedule it as a one-weekend event in 2020 were cancelled by the COVID-19 pandemic. 

Revisit DJ Mag’s cover story on Batu, from earlier this year, here, and check out his DJ set from DJ Mag HQ in June here.

The Cause to open new pop-up venue, All My Friends, in October

The team behind much-loved London venue The Cause is opening a new space in the city next month.

Based in Hackney Wick, the venue, All My Friends, is currently being billed as a three-month pop-up bar, which will host events and serve the community that existed around The Cause.

The new space will be a place for The Cause’s community to hang out in a more “laid-back manner” than the parties that went on at the now closed London club. It will house a record store, as well as a bar with craft beers and street food.

The official opening week will kick off on 7th October, and will open from Tuesday through to Sundays from midday until late.

The record shop is a community project from Eya Records, Spacehopper and The Cause, according to the team behind the space. It will stock new records, in addition to used collections from DJs close to the club covering house, techno, dub, jungle, jazz, funk, soul, disco, hip hop and more.

Musically, a number of friends and DJs close to The Cause will be invited to play at the venue through the week. Line-ups for the space’s first few weeks will be revealed in the coming weeks. Sign up to find out more about the new venue here.

The Cause closed at the start of 2022 due to pre-existing plans to regenerate the Tottenham Hale area in which it was based. Read about the closing party here.

New London venue from The Cause team, All My Friends, opens in October

The team behind much-loved London venue The Cause is opening a new space in the city next month.

Based in Hackney Wick, the venue, All My Friends, is currently being billed as a three-month pop-up bar, which will host events and serve the community that existed around The Cause.

The new space will be a place for The Cause’s community to hang out in a more “laid-back manner” than the parties that went on at the now closed London club. It will house a record store, as well as a bar with craft beers and street food.

The official opening week will kick off on 7th October, and will open from Tuesday through to Sundays from midday until late.

The record shop is a community project from Eya Records, Spacehopper and The Cause, according to the team behind the space. It will stock new records, in addition to used collections from DJs close to the club covering house, techno, dub, jungle, jazz, funk, soul, disco, hip hop and more.

Musically, a number of friends and DJs close to The Cause will be invited to play at the venue through the week. Line-ups for the space’s first few weeks will be revealed in the coming weeks. Sign up to find out more about the new venue here.

The Cause closed at the start of 2022 due to pre-existing plans to regenerate the Tottenham Hale area in which it was based. Read about the closing party here.

Avalon Emerson and Anunaku announce debut collaborative EP on AD 93

AD 93 is to release the first collaborative record by Avalon Emerson and Anunaku, under the joint alias A+A.

Made up of four tracks, ‘060’ will be released digitally and on vinyl on 30th September, with lead track ‘Eternal September’ available to stream below now.

The record was produced, AD 93 says, when the two artists joined up for production sessions in London and while on tour. The label adds that the project is built around making “beautiful, potent dance music”.

Both artists have previously released music individually via AD 93, with Emerson’s last release, ‘040’, coming in 2020, and Anunaku’s previous outing for the label, ‘042’, arriving in 2021. The latter also joined up with Loraine James under his TSVI alias for a collaborative record on AD 93 earlier this year.

Check out DJ Mag’s 2021 cover story on Avalon Emerson here, and listen to Anunaku’s 2019 contribution to our Recognise mix series, made as TSVI, here.

Pendulum announce one-off London show for 2023

Pendulum have announced a one-off London live show, which will take place in March next year.

Following a surprise appearance at Reading festival this summer, the Australian group are set to play O2 Academy Brixton on 5th March, and announced the news this week with a social media post, in which they said: “Brixton! It’s been a long time.”

Tickets for the show will go on sale on 7th September, and can be purchased here.

The band previously split in 2012, but returned in 2020 when they released the tracks ‘Driver’ and ‘Nothing For Free’, their first new music in a decade. Those two cuts were followed by the four-track ‘Elemental’ EP in 2021.

Premiere: Swimful ‘Translation To Heaven (Ikonika Remix)’

Swimful will release a new EP, ‘Rushlight’, via Shanghai’s SVBKVLT this month, featuring remixes from Ikonika and Phelimuncasi. Listen to Ikonika’s remix of ‘Translation To Heaven’ below. 

The seven-track release marks UK-born, Shanghai-based artist’s fifth release on the label, and finds him dabbling in fresh sonic territory. Where previous releases like 2017’s ‘Pearls’ and 2019’s ‘Folding Knives’ comprised hyper-colourful takes on sinogrime and cinematic ambient music, ‘Rushlight’ offers a distinctive, fusionist take on amapiano and drill.

‘Viatica’ takes the classic, circa 110 BPM beat structure of amapiano and bathes it in an icy melodic atmosphere: it rolls deep like an Arctic current; its trademark log drums distort like the frosted over cogs of a huge machine. ‘Translation To Heaven’, meanwhile, pushes the tempo way up, while Swimful puts a personalised spin on the genre’s bouncing percussive framework.

‘Official Party Line’, ‘Backwards’ and ‘More Distant Approach’ blend drill and amapiano with fluency: rattling percussive patterns, log drum trills and thundering gunshot FX dance around drill bass slides and nocturnal melodies in ways that feel genuinely intuitive and irresistible. 

Durban gqom trio Phelimuncasi put their own spin on ‘More Distant Approach’, adding their own vocals and production from DJ Scoturn. Hyperdub affiliate Ikonika brings ‘Translation To Heaven’ to life with added kalimba-like melodies and sweeping keys. 

‘Rushlight’ will be released on 14th September. Pre-order it here

fabric announces new label, fabric Originals, with Eris Drew & Octo Octa split single: Listen

London club fabric has launched a new label, fabric Originals.

The new imprint, which will exist alongside fabric’s in-house Houndstooth label and mix compilation series, will aim “to release special projects from the artists that form the present and future of boundary-pushing club music globally,” according to press materials.

The first release on the label is a split 12″ single from Eris Drew and Octo Octa, called ‘Day After A Night With U/Stars & Water’. Eris Drew has produced one of the tracks, while Octo Octa handles the other.

You can listen to both tracks on the record below, and purchase them digitally, or on vinyl, via Bandcamp.

The second fabric Originals release will be a four-track record by DJ Bone, called ‘Black Market EP’, which is out in October, while Helena Hauff will follow that with a four-track record, ‘Living With Ladybirds’, in November.

Further records on the label will come from I. JORDAN and SHERELLE; LCY; and Marcel Dettmann, and will be released over the course of the first six months of 2023.

Eris Drew and Octo Octa previously linked up with fabric in 2020 to contribute to the London club’s ‘fabric presents’ mix series.

Revisit Eris Drew’s 2019 DJ Mag cover story here, and find Octo Octa’s recent DJ Mag North America cover story here.

Modalics Intros Beat Scholar Drum Machine Virtual Instrument, ‘The Ultimate Rhythmic Playground

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Modalics has introduced Beat Scholar, a new software drum machine that they describe as “the ultimate rhythmic playground”.

Beat Scholar presents a new way to compose rhythm, making it easy to manipulate measures and subdivisions. Beat Scholar also features a robust sampler, built in effects, MIDI features, pattern triggering and more.

Features:

  • Presents a unique & intuitive way to explore subdivisions, measures & create drum patterns.
  • Divide beats into up to 42 slices and combine multiple drums on the same beat.
  • Any drum can be placed anywhere
  • Over 250 carefully curated samples, from classic drum machines & acoustic samples to synthesized drums hand-crafted especially for Beat Scholar (by Yonatan Meltzer)
  • Load your own samples with an easy drag n’ drop interface.
  • Built-in FX section to get you started quickly.
  • Easy MIDI file export – drag directly from the plugin’s interface to your DAW.
  • Use Beat Scholar to output midi to any instrument or even to hardware drum machines!
  • Standalone, VST3, AU, AAX.
  • Mac Intel & M1 / Windows Compatible.
  • Tested Hosts: Logic, Pro Tools, Cubase, Ableton Live, Reaper

Pricing and Availability

Beat Scholar is available now for $79 USD, normally $99.

Timmy Trumpet: brass tacks

During his jazz years, Timmy was at school six days a week. He would have to do “ear training” at the Conservatorium of Music, where students would listen to someone hit notes on a piano and ID them with their backs turned. “I don’t consciously use those skills when I write now,” he says, shuffling about his chair with the same boundless energy that he has when on stage. “I think everything comes from my subconscious. I don’t ever go into the studio with an idea of what I’m going to write. I just start with some chords on the piano and see what comes out.”

Over the years, there has been a real variety. He’s done electro-house, big room house, Melbourne bounce, psy-trance, hardstyle and hardcore. It has come on the world’s biggest labels, from Spinnin’ and Dim Mak, to Ultra Music and Armada. He has worked with fellow EDM titans like Carnage, KSHMR, Steve Aoki and hard rock vocalist Andrew W.K.. His ‘Freaks’ tune was an intentional breakout success, which sold more than 1 million copies worldwide and has been streamed online over 500 million times. Meanwhile, harking back to his early days in more traditional music, his epic ‘Toca’ was a big room rework of Johann Sebastian Bach’s ‘Toccata and Fugue in D minor’ and has long been a trademark of Timmy’s live performances.

When we speak, there is a painting of their wedding day in the background. Anett goes to fetch it and explains it was done live on the day. “She purposefully put that there for this interview,” Timmy laughs. He is wearing his trademark blacked-out aviator shades and black fedora. He and his wife have deep tans and look the picture of good health given how much time they spend on the road. “We call it the wed-shred,” says Timmy as he leans into Anett once more. She cuts in, “We really got in shape for the wedding and now we are trying to keep it!”

Two days after we speak, Timmy turns 40, but he has the energy, enthusiasm and positivity of a man half his age. “He just appreciates everything,” says Anett. “He’s one of those people who don’t complain and I just feel his amazing energy every single day.”