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Hier — 23 septembre 2020Vos flux RSS

Traktor Pro 3.4 rolls out – serious love for the Browser

Par : Dan White

Continuing a trend of quality of life improvements for DJs in their software, Native Instruments released Traktor Pro 3.4 today. There’s a lot of focus on the browser in this release, the biggest of which we’ve covered previously (secondary column sorting, Smartlists / Smart Playlists) in Public Beta articles. Today marks the full release of […]

The post Traktor Pro 3.4 rolls out – serious love for the Browser appeared first on DJ TechTools.

Rekordbox 6.1.1 adds an “Edit Mode” and TIDAL support

Par : Dan White

Pioneer DJ’s preparation and performance DJ software just got a new incremental update, Rekordbox 6.1.1. There’s a feature addition that everyone saw coming (TIDAL streaming library support) and a second feature that we didn’t anticipate: an Edit Mode for creating your own edits of tracks. Keep reading for the details. Rekordbox 6.1.1’s Edit Mode Edit […]

The post Rekordbox 6.1.1 adds an “Edit Mode” and TIDAL support appeared first on DJ TechTools.

À partir d’avant-hierVos flux RSS

Will DJing back-to-back online finally be possible?

Par : Dan Cole
B2B DJ sets over the internet

Playing B2B DJ sets online has always seemed impossible. A new group is tackling the technical challenge of back-to-back DJing over the internet.

The post Will DJing back-to-back online finally be possible? appeared first on DJ TechTools.

This is Pioneer DJ’s CDJ-3000

Pioneer DJ CDJ-3000 annoucement

After releasing a teaser of their new CDJ last week – Pioneer DJ has officially announced the CDJ-3000. Four years after the CDJ-2000NXS2 was released in early 2016, the media player has been highly anticipated by many DJs. Meet the CDJ-3000 Gear: CDJ-3000 Manufacturer: Pioneer DJ Price: $2,299 Preorders available in the DJTT store here New […]

The post This is Pioneer DJ’s CDJ-3000 appeared first on DJ TechTools.

It’s Official: NAMM 2021 is Cancelled.

Par : Dan White
NAMM 2021 Cancelled

We’ve long expected that the COVID-19 situation here in the United States would continue to lead to cancellations of industry events. Today, the NAMM Show officially announced that they’re cancelling the 2021 NAMM show: “Given the current realities of the COVID-19 pandemic and the health and safety of NAMM members as our first priority, it […]

The post It’s Official: NAMM 2021 is Cancelled. appeared first on DJ TechTools.

Denon’s Engine OS releases v1.5 with Soundcloud Go+, Beatport Link

Engine DJ, Denon’s flagship DJ software, is opening up its music library capabilities with its newest update, Engine OS v1.5. The revision comes with a swath of new features, including a Quick Source Menu, a newly installed BPM detection algorithm, and – arguably the most significant update – the ability for artists to access two major streaming […]

The post Denon’s Engine OS releases v1.5 with Soundcloud Go+, Beatport Link appeared first on DJ TechTools.

Clubbing in the COVID-19 era: How 5 Eastern European countries are reacting to coronavirus

If there has been one event in the past 25 years that has been absolutely catastrophic to the nightlife industry, it’s COVID-19. With a death toll that is now well over 600,000, stringent travel restrictions, and even a few all-out lockdowns, it is easy to see why many local nightlife scenes have been totally decimated. […]

The post Clubbing in the COVID-19 era: How 5 Eastern European countries are reacting to coronavirus appeared first on DJ TechTools.

Nightmares in Clubland: Alex Nepa’s Worst DJ Gig Ever

DJTT author Matthew Takata sits down with veteran club DJs to ask them about their dreaded “worst night ever.” Often in life, our best lessons come from our biggest blunders, and also leave us with a few funny stories all the while. This month, he spoke with Alex Nepa, a mixed format DJ operating out […]

The post Nightmares in Clubland: Alex Nepa’s Worst DJ Gig Ever appeared first on DJ TechTools.

These are the best AI platforms to help you make music

Par : Dan Cole
AI composition tools for producers

How AI is changing the way we make music – and the services that are out there to help. Right now, AI music services are all the rage, and rightly so. The technology, data, and demand is there. As a producer, if you can use online tools to help inspire or improve your productions, why […]

The post These are the best AI platforms to help you make music appeared first on DJ TechTools.

6 ways DJs can get organized during lockdown (you’ll thank yourself later)

We all feel it – the COVID-19 burnout is real. Many of us are itching to get outside, to play clubs again, to be back on a dancefloor, and to play on a big soundsystem again. Yep, we miss it too. But we’re not quite there yet – particularly in the United States. That’s why so […]

The post 6 ways DJs can get organized during lockdown (you’ll thank yourself later) appeared first on DJ TechTools.

How I Play (at home): SHADED gear walkthrough

With the pandemic lockdown leaving artists confined to their home spaces rather than their mainstay nightclubs and festivals, we’re exploring our traditional How I Play videos in a new light: the ways in which artists are performing live sets at home. This week, we sat down with LA-based DJ and Producer SHADED. With releases on […]

The post How I Play (at home): SHADED gear walkthrough appeared first on DJ TechTools.

Review: Pioneer DJ’s new Rekordbox 6 – is it worth subscribing?

With Pioneer DJ’s Rekordbox 6 music management and DJ performance software, you can keep your prep your music files from multiple devices, sync changes seamlessly in the cloud, and hook up your set’s tracks from an iPhone to CDJs to perform. But is all that really worth the subscription price? Contributing writer Markkus Rovito tests […]

The post Review: Pioneer DJ’s new Rekordbox 6 – is it worth subscribing? appeared first on DJ TechTools.

A shift in livestreaming copyrights is coming: Anjunadeep clears 500+ tracks on Twitch

It’s no secret that the battle between artists livestreaming during quarantine and the copyright laws embedded into streaming platforms like Facebook, Twitch, and YouTube has been ongoing – and growing – as the year of online streams has progressed. In early June, Twitch served a series of copyright takedown notices for old videos posted by streamers, putting […]

The post A shift in livestreaming copyrights is coming: Anjunadeep clears 500+ tracks on Twitch appeared first on DJ TechTools.

Denney on how to best use FX and staying true to your tracks

As a DJ, Denney’s career over the last few years has seen him play all over the world – including Elrow in various countries and Ibiza’s notorious DC10. He plays a mix of 4/4 electronic music across the house and techno spectrum, and draws on 23 years of DJing experience. Who Is Denney? He’s a talented […]

The post Denney on how to best use FX and staying true to your tracks appeared first on DJ TechTools.

Sampling in Lockdown: 3 producers dive into field recordings in this miniseries

In what feels like a capricious nosedive into the darkness, descending, our world during COVID-19 can sometimes feel on-edge. From resisting that urge to rub your eyes with unwashed hands to standing a safe two metres away from your best mate, the presence of the invisible enemy looms considerably large. Feeling vulnerable, the frequent sights […]

The post Sampling in Lockdown: 3 producers dive into field recordings in this miniseries appeared first on DJ TechTools.

Jean-Michel Jarre fête la musique avec le concert VR « Alone Together »

Par : Sitraka R
concert vr de jean-michel jarre alone together

Pour célébrer la Fête de la musique, Jean-Michel Jarre fera mixer son avatar lors d’un concert live VR intitulé « Alone Together » (seul ensemble).

Complètement gratuit, l’événement aura donc lieu le 21 juin prochain à 21h15 sur le réseau social VR VRrOOm (disponible via VRChat). Ceux qui ne disposent pas du matériel requis pour profiter de la performance en réalité virtuelle pourront regarder en direct (2D et 3D) via les réseaux sociaux traditionnels.

Si l’on en croit les organisateurs, il s’agirait d’une première puisque les performances musicales diffusées en VR ont toujours été préenregistrées jusqu’ici. De fait, ce concert VR n’est pas anodin pour Jean-Michel Jarre. En effet, l’artiste veut prouver que se produire en direct devant un public, même virtuel, a son importance. Une conviction que de nombreux musiciens partagent très certainement.

Pour l’occasion, VRrOOm, mené par son fondateur Louis Cacciuttolo, a réuni une brochette d’artistes et de techniciens pour élaborer l’environnement virtuel. Leur promesse ? Un monde immersif visuellement distinct de ce qui existe déjà.

Jean-Michel Jarre en live VR et en « concert » à Paris…

Néanmoins, Jarre aura bien une vraie foule pour l’écouter, en plus des personnes qui assisteront au concert depuis chez elles. Et pour cause, le concert sera diffusé « en silence » sur grand écran dans la cour d’honneur du Palais-Royal à Paris. Le public présent pourra alors écouter la musique via un smartphone.

Malheureusement, il s’agira cette fois d’un événement réservé à des étudiants qui pourront chatter avec l’avatar de l’artiste une fois le concert terminé. L’ambition de Jarre semble ne connaître aucune limite. Et l’homme semble penser que la VR et l’AR n’en ont pas non plus. Selon lui, elles pourraient faire pour les arts du spectacle ce que le cinéma a fait pour le théâtre.

En tout cas, si vous voulez écrire les pages de l’histoire de la VR avec Jean-Michel Jarre, rendez-vous le 21 juin sur VRrOOm ou sur Facebook et YouTube pour le concert Alone Together. Et au Palais-Royal pour les quelques chanceux.

Cet article Jean-Michel Jarre fête la musique avec le concert VR « Alone Together » a été publié sur Réalité

15 Livestreams Worth Watching This Quarantine

The era of quarantine livestreaming is alive and well. Wondering what you’ve missed? What streams and streamers have stood out? Here’s a (non-comprehensive) sampling. As the dearth of in-person shows has dragged on, online streams have gotten more entertaining and come with higher-production. We crowdsourced the DJTT community and picked a few of our favorites, […]

The post 15 Livestreams Worth Watching This Quarantine appeared first on DJ TechTools.

Virtual DJ 2021 released, adds dynamic stems / signal separation mixing

Par : Dan White
Virtual DJ 2021 with Stems Mixing

Who would have thought two different DJ softwares would release the ability to isolate parts of a track on the fly on the exact same day? Today, Atomix Productions has released Virtual DJ 2021, with a signal separation functionality that allows DJs to “de-mix” finished tracks into the individual components. They join Algoriddim, who announced […]

The post Virtual DJ 2021 released, adds dynamic stems / signal separation mixing appeared first on DJ TechTools.

djay Pro AI: A new update to Algoriddim’s app allows DJs to filter out drums, harmonies, and vocals

Par : Dan White
NeuralMix on djay Pro = signal separation EQ

Signal separation has been the dream for years: the ability to take a finished track and split it down to the individual stems dynamically, on the fly. Today, Algoriddim has announced djay Pro AI – their new Neural Mix™ technology that allows DJs to isolate beats, instrumentals, and vocals in real time. Neural Mix™ AI […]

The post djay Pro AI: A new update to Algoriddim’s app allows DJs to filter out drums, harmonies, and vocals appeared first on DJ TechTools.

Interview to Genius Loci Weimar

Par : Marco Savo

We have supported Genius Loci Weimar and promoted their open call for audiovisual artists since their early start.

We felt now was the perfect time to interview the organizers of the projection mapping festival. One of the fastest growing audiovisual events in Europe. (German version below)

1. Can you tell us about the history, concept ans goals of Genius Loci Weimar?

The history of Genius Loci Weimar began 8 years ago, in 2012, when, as part of various regional development initiatives, we were looking for a concept that could combine modern media and historical heritage.

This is how the Genius Loci Weimar Festival came into being, initially on a smaller scale, which has since developed into an event with up to 50,000 visitors annually. The concept has always been to deal with the “spirit of the place” and its individual history, the “Genius Loci”.

We want to achieve several things with GLW: Always present is the goal of presenting aesthetically pleasing and high-quality artworks in Weimar. In addition, we also want to create a positive public and to address audiences of all ages and backgrounds throughout the festival.

As already mentioned, the “Genius Loci” is the focus of our artistic works. It is therefore also the goal to discuss history and to stimulate historical-cultural reflection, which certainly also has political and social aspects.
Another goal is to create and develop our own format, a brand that can provide a framework for the production of artistic works in this field.

The projection mapping scene is still quite young. Visibility, communication and networking are therefore also important concerns of our festival. Especially through the programme formats TALK, CLUB and LAB. There, in the LAB, the support and encouragement of young talents is increasingly taking place.

The AV media are to be further established as an art form and artistic format and to move away from the “avant-garde” or even “nerd corner”, in which they are still often located. To emphasize their potential as an aesthetic direction with different artistic styles and tastes is the goal of Genius Loci Weimar.

2. The festival advocates the importance of video mapping as an audiovisual tool to deliver relevant contents, rather than mere entertainment gimmick. How do you think GLW have been impacting the relationship between the community and the architectonic heritage of the city?

Thanks to the festival, a considerable exchange takes place every year on several levels within the city. The citizens of Weimar have become real “fans” of the festival and its formats and are curiously looking forward to seeing which new locations will be played at each year and can be experienced in new ways.

Thus, in addition to very prominent buildings such as the National Theatre or the Herderkirche in the city centre, the Ilmpark and a squatted house in Gerberstraße have already been in the spotlight.

Especially at controverse locations, such as Gerberstraße 3, exciting exchanges can arise: There, the “bourgeoisie” became observer of the usually sceptically eyed façade of the squatted house, the inhabitants of the house project became hosts at the same time – also for the otherwise avoided “establishment”. An exciting situation for everyone, which can only arise during a live event and on-site.

Genius Loci Weimar 2015 Winner - Audiovisual Event

However, in any case, reflection is always encouraged: exchange and examination of past times and other lifestyles. The buildings also appear in new contexts, the library was once filled with fictitious visions or the theatre was shown as an important place of democracy. The selection and the type of performance should always have a very specific effect.

The fact that the concept is sustainable can be seen from the fact that other projection festivals are following up, launching similar strategies or even asking for a transferable concept.

In the end, the awareness for places and cities is always sensitized by the unique, site-specific spectacles.

3. GLW Open Call is the core of the festival. Can you explain the complex decision process you undertake every year to award the three prizes? Are there any project that have been particularly relevant for you in the past editions?

The audiovisual event starts already in spring with the publication of our Open Call and the announcement of the three competition buildings. A prize money of 15.000 Euro per building is awarded and we receive applications with artistic projects from all over the world during the competition period.

At the end of the competition, the applications will be judged by a jury of experts, while the public will also be able to vote at this early stage to decide who will perform their work in late summer.

During the past eight festival editions, a wide range of artistic styles were chosen as competition winners. Exciting, for example, was last year’s masterfully implemented, seemingly interactive audiovisual performance by Jonas Denzel on the façade of the newly opened Bauhaus Museum in Weimar.

Of 2016, the combination of live performance and video projection on a surface of water from Dieselqueen is also remembered.

Or the already mentioned mapping with the title “Grain Metal Punk” by VJZARIA on the façade of the squatted house in Gerberstraße.

4. During these uncertain times many audiovisual events decided to implement hybrid or online formats. Can you tell us about GLW position in the current scenario?

Genius Loci Weimar continues to believe in the presence and magic of live events. We continue to believe in video mapping as a unique, ephemeral and sensual event, accompanied by overwhelming sound and an immense size that can be experienced collectively in public space. This is why we continue to focus on the live event on-site.

5. How do you see Genius Loci Weimar in the next 10 years?

Genius Loci Weimar aims to further extend its constant growth path of recent years. As a festival and brand, GLW will continue to grow in breadth, but also in depth.

The reflective formats such as the relatively new TALK will continue to be expanded and refined. AV hybrids as a stage format, as has been the case with AV cinema in recent years, are also to be further developed and refined.

In the middle and long term, closer cooperation with universities is also conceivable, for example in the form of the creation of a new institute or similar. However, the core will always be the video and its connection to the historical heritage of the city!

Discover more about the audiovisual event


Können Sie uns etwas über die Geschichte, das Konzept und die Ziele von Genius Loci Weimar erzählen?

Angefangen hat die Geschichte von Genius Loci Weimar bereits vor 8 Jahren, im Jahr 2012. Im Rahmen verschiedener Initiativen zur Regionalentwicklung suchten wir nach einem Konzept, das es schafft, moderne Medien und historisches Erbe miteinander zu verbinden. Dabei entstand das Genius Loci Weimar Festival, zunächst in kleinerem Umfang, das sich inzwischen zu einer Veranstaltung mit bis zu 50.000 Besucher*innen jährlich entwickelt hat. Das Konzept war dabei schon immer die Auseinandersetzung mit dem „Geist des Ortes“ und seiner individuellen Geschichte, dem „Genius Loci“ eben.

Wir möchten mit GLW mehre Dinge erreichen: Immer präsent ist natürlich das Ziel, ästhetisch ansprechende und hochwertige Kunstwerke in Weimar zur Aufführung zu bringen. Dazu kommt aber auch der Anspruch, eine positive Öffentlichkeit zu schaffen und mit dem Festival milieu- und altersübergreifend Zuschauer*innen anzusprechen.

Wie schon eben gesagt steht der „Genius Loci“ im Mittelpunkt unserer künstlerischen Arbeiten. Es ist also auch Ziel, Geschichte zu thematisieren und zu einer historisch-kulturellen Reflexion anzuregen, die durchaus auch politische und gesellschaftliche Facetten in sich trägt.

Ein weiteres Ziel ist das Erschaffen und Weiterentwickeln eines eigenen Formats, einer Marke, die der Produktion von künstlerischen Arbeiten in diesem Bereich einen Rahmen geben kann.

Die Videomapping-Szene ist noch recht jung. Sichtbarkeit, Kommunikation und Vernetzung sind also auch wichtige Anliegen unseres Festivals, insbesondere durch die Veranstaltungsteile TALK, CLUB und LAB. Dort, im LAB, findet auch verstärkt die Nachwuchsförderung statt. Die AV-Medien sollen als Kunstform und als künstlerisches Format noch weiter etabliert werden und heraus aus der „Avantgarde-“ oder sogar „Nerd-Ecke“, in der sie noch teilweise verortet werden. Ihr Potenzial als eine ästhetische Richtung mit unterschiedlichen künstlerischen Stilen und Geschmacksrichtungen herauszustellen, ist Ziel von Genius Loci Weima

Das Festival befürwortet die Bedeutung von Video-Mapping als audiovisuelles Instrument zur Vermittlung relevanter Inhalte und nicht als bloßen Unterhaltungsgag. Wie hat GLW Ihrer Meinung nach die Beziehung zwischen der Gemeinschaft und dem architektonischen Erbe der Stadt beeinflusst?

Innerhalb der Stadt findet dank des Festivals jedes Jahr aufs Neue ein erheblicher Austausch auf mehreren Ebenen statt. Die Weimarer*innen sind inzwischen zu richtigen „Fans“ des Festivals und seiner Formate geworden und erwarten gespannt, welche neuen Orte jedes Jahr bespielt und auf neue Weise erfahren werden können.

So war neben sehr prominenten Gebäuden wie dem Nationaltheater oder der Herderkirche in der Innenstadt auch schon der Ilmpark und ein besetztes Haus in der Gerberstraße im Rampenlicht.

Gerade an kontroversen Orten, wie beispielsweise der Gerberstraße 3, können spannende Begegnungen entstehen: Das „Bürgertum“ wurde dort zum Betrachter der sonst so skeptisch beäugten Fassade des besetzten Hauses, die Bewohnerinnen des Hausprojekts wurden gleichzeitig zu Gastgeberinnen – auch für das sonst gemiedene „Establishment“. Eine spannende Situation für alle, die so nur im Moment eines Live-Events vor Ort entstehen kann.

Auf jeden Fall wird aber immer zur Reflexion angeregt: Austausch und Auseinandersetzung mit vergangenen Zeiten und anderen Lebenswelten. Auch die Gebäude treten in neuen Kontexten auf, die Bibliothek wurde einmal mit fiktiven Gebäudevisionen bespielt oder das Theater als Ort der Demokratie thematisiert. Die Auswahl und die Art der Bespielung sollen dabei immer eine ganz bestimmte Wirkung erzielen.

Dass das Konzept trägt, sieht man auch daran, dass andere Projektionsfestivals nachlegen und ähnliche Konzepte an den Start bringen oder sogar nach einem übertragbaren Konzept anfragen.

Letztlich wird immer das Bewusstsein für Orte und Städte durch die einmaligen, ortsgebundenen Spektakel sensibilisiert.

Der GLW Open Call ist das Herzstück des Festivals. Können Sie den komplexen Entscheidungsprozess erklären, den Sie jedes Jahr für die Vergabe der drei Preise durchführen? Gibt es Projekte, die für Sie in den vergangenen Ausgaben besonders relevant waren?

Das Festival beginnt bereits im Frühjahr mit der Veröffentlichung unseres Open Calls und der Bekanntgabe der drei Wettbewerbsgebäude. Pro Gebäude ist ein Preisgeld von 15.000 Euro ausgelobt und uns erreichen im Wettbewerbszeitraum Bewerbungen mit künstlerischen Projekten aus der ganzen Welt ein.

Nach Ende werden die Bewerbungen zum einen von einer Expert*innenjury beurteilt, und zum anderen kann auch das Publikum bereits an dieser frühen Stelle mit Hilfe des Public Votes mitbestimmen, wer im Spätsommer seinen Wettbewerbsbeitrag zur Aufführung bringen wird.

Während der vergangenen acht Festivaleditionen konnte eine große Bandbreite an künstlerischen Stilen als Wettbewerbssieger*innen gekürt werden. Spannend war zum Beispiel im letzten Jahr die gekonnt umgesetzte, scheinbar interaktive, audiovisuelle Performance von Jonas Denzel auf der Fassade des neu eröffneten Bauhaus-Museums in Weimar.

Aus 2016 ist aber auch die Kombination aus Live-Performance und Video-Projektion auf eine Wasserfläche von Dieselqueen in Erinnerung geblieben.

Oder das schon angesprochene Mapping mit dem Titel „Grain Metal Punk“ von VJZARIA an der Fassade des besetzten Hauses in der Gerberstraße.

In diesen unsicheren Zeiten haben sich viele audiovisuelle Veranstaltungen entschieden, hybride oder Online-Formate einzusetzen. Können Sie uns über die Position des GLW im aktuellen Szenario berichten?

Genius Loci Weimar glaubt auch weiterhin an die Präsenz und die Magie des Live-Events. An das Videomapping als einmaliges, vergängliches und sinnliches Ereignis, begleitet von überwältigendem Sound und einer immensen Größe, das kollektiv im Stadtraum erfahren werden kann. Deshalb fokussieren wir uns auch weiterhin auf die Live-Veranstaltung vor Ort.

Wie sehen Sie Genius Loci Weimar in den nächsten 10 Jahren?

Genius Loci Weimar will seinen konstanten Wachstumspfad der letzten Jahre weiter ausbauen. Als Festival und Marke soll weiter in die Breite, aber auch in die Tiefe gewachsen werden. Die reflektiven Formate wie etwa der noch recht neue TALK sollen auch weiterhin ausgebaut und verfeinert werden. Auch die AV-Hybride als Bühnenformat, wie beim AV-KINO in den letzten Jahren schon geschehen, soll noch weiter verfeinert werden.
Mittel- und Langfristig ist aber auch eine engere Kooperation mit Hochschulen, etwa in Form der Schaffung eines eigenen Instituts oder ähnliches denkbar

Kern wird aber immer das Video und seine Verknüpfung mit dem historischen Erbe der Stadt bleiben!

The post Interview to Genius Loci Weimar appeared first on Audiovisualcity.

Future DJ Gear Concepts: Denon DJ SC4000

Par : DJ Glitch

Next in our Future DJ Gear series comes a takes on Denon’s potential next piece: a more affordable version of the SC6000. Denon DJ’s new SC6000 players are the new favorites of many professional DJs such as Laidback Luke, combining innovative new technology with superb professional build quality. The SC6000 outperforms the expensive, industry-standard Pioneer […]

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SUAT: behind the DJ who walks for miles carrying and mixing on an XDJ-RX

Par : Dan Cole

Take your livestream outside, on the move with the UK’s top-trending artist. When the UK introduced lockdown measures to curtail the spread of COVID-19, it immediately brought an end to the country’s nightlife and entertainment industry. It also forced people to limit the amount of time they could spend outdoors. For most DJs and musicians, […]

The post SUAT: behind the DJ who walks for miles carrying and mixing on an XDJ-RX appeared first on DJ TechTools. launches Timetosser via Kickstarter, an on-the-fly resequencer

Back in 2017, the team over at shared the prototype of their first standalone audio slicer and resequencer, the Timetosser. A few years later, they’re back and raising funds for the finally-revised, updated version of the product that they’re launching via Kickstarter. How does it work? The Timetosser is a machine built for artists […]

The post launches Timetosser via Kickstarter, an on-the-fly resequencer appeared first on DJ TechTools.

Natalia Stuyk

Natalia Stuyk is a self taught video artist, famous for her colourful surrealist landscapes and vivid digital fantasy worlds.

Think how things would look if you dreamed in digital formats. Her creative work as audiovisual artist is generally split between personal projects, which later feed her portfolio to get commissioned projects, generally in the world of fashion.

She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).

In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.

Her latest project can be found on Vimeo (below).


Instagram | Vimeo


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Par : Marco Savo

A Russian studio of interactive audiovisual art.

Kuflex Lab is formed by audiovisual artists exploring the newest ways of using video, sound and light, tracking technology and generative graphics to allow viewers to dive into that digital space and feel it to the fullest.

Kuflex large-scale interactive installations dismantle stereotypes of sensory perception. Immersive effect switches off rational evaluative perception and provokes spontaneous emotions of inner child.

A small team creates magic installations and art projects, exploring mechanisms of interaction and inter-influence of inter-subjective reality and its digital projection.

Interacting with constantly changing projection, the viewer enters meditative state, turns from a passive observer into a co-creator. Thus, in “Symbiosis” installation the viewer literally merges with the alien creature, becoming a digital avatar that can be controlled by him or her. 

Installations by Kuflex have been featured in many Russian and foreign exhibitions, festivals, museums, science and education centers in Moscow, Saint-Petersburg, Yekaterinburg, Krasnoyarsk, Tyumen, Abrau-Dyurso, Netanya (Israel), Antalya (Turkey), Athens (Greece, ADAF), Las-Vegas (USA, CES), Beijing (China,China Science and Technology Museum), Manila (Philippines) and others.

Since 2018 the studio has been working on Kusmos software system for interactive visual content of online home concerts. In April 2020 it started  developing Kusmos live version thus turning any stream from home into a fantastic 3D show.



Facebook| Instagram | Vimeo | YouTube


The post KUFLEX appeared first on Audiovisualcity.

1,000+ Black Producers, Artists, and Labels to buy music from on Bandcamp today.

Par : Dan White
500+ black artists to support on Bandcamp day

Bandcamp has been responding to the devastating global economic circumstances in a great way: waiving their fees for all artists once a month. It happens on the first Friday of every month, but this week, there’s a huge pressing social issue on many minds: Black Lives Matter. Make no mistake: DJ culture and dance music […]

The post 1,000+ Black Producers, Artists, and Labels to buy music from on Bandcamp today. appeared first on DJ TechTools.

Lisa Park

Lisa Park is a multidisciplinary artist based in New York and South Korea.

She is best known for her works with biofeedback devices, such as heart rate and brainwave sensors to express invisible biological signals and emotions as auditory and visual representations.

In creating art installations and performances using sensor technology, she strives to explore the importance of human relationships and connections.

Park is a recipient of the New York Foundation for the Arts Fellowship. Her works have been featured by Art21, Artnet, The Creators Project, New York Times magazine, Wired, PBS, Time Out NY, the New York Post, and through many other media outlets.

She received BFA in Fine Arts at Art Center College of Design and her Masters from the Interactive Telecommunications Program at New York University’s Tisch School of the Arts.

One of her interactive audiovisual installations left us particularly fascinated: “Blooming”.

It highlights the importance of human presence and physical connection in our lives. It cannot be bloomed alone and is only bloomed by the relationship between people. As a response to participants’ skin- to – skin contacts, heart rate, and gestures, “Blooming” blossoms according to their intimacy. As audience members hold hands or embrace , the digital Cherry tree flowers bloom and scatter.



Facebook | Instagram | Vimeo


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Rekordbox 6.0.1 detects where the vocals are in tracks, adds Auto Upload, Beatsource LINK support

Vocal Detection in rekordbox 6.0.1

Shortly after the release of the long-anticipated Rekordbox 6, a new update has been released for Pioneer DJ’s industry-leading DJ software. The latest version, rekordbox 6.0.1, comes with three new offerings: support for Beatsource LINK, a playlist Auto Upload feature, and vocal position analysis / detection. Vocal Position Detection: This new, AI-driven feature does exactly […]

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Par : Marco Savo

MEDUSA LAB is a company specialized in the development of creative concepts applied to arts, entertainment and communication to create unique experiences through technological innovation.

The Mexican company is formed by audiovisual artists developing sensorial experiences through interactive and immersive installations, videomapping, Virtual Reality, Augmented Reality and 360 Video.

They combine digital media with other artistic disciplines such as music, dance, theatre and performance.

Medusa Lab took part of many national and international event such as Venice Biennale of Architecture 2014, Mediaxion, Live Performers Meeting and Circuito Electrovisiones.



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MUTEK SF: NEXUS Experience

Par : Marco Savo

ONLINE, 23 – 24 May 2020

A digital gathering organized by Mutek San Francisco with NEXUS Experience.

The audiovisual event celebrates world-famous digital culture, experimental electronic music and films. It debuts online this year to respond to the current restriction on public events

MUTEK SF – NEXUS Experience is free to join. Donations are welcome as all proceedings will go directly to the artists.

The online festival has worldwide support from the international MUTEK network.



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