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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 […]

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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 […]

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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, […]

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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 […]

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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 […]

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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


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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 […]

The post Rekordbox 6.0.1 detects where the vocals are in tracks, adds Auto Upload, Beatsource LINK support appeared first on DJ TechTools.


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.



Facebook | Twitter | Instagram | Vimeo | Youtube


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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.



Facebook | Twitter | Youtube | Instagram

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InMusic acquired Stanton: here’s what the acquisition could mean for DJs

Par : Dan White
Stanton acquired by InMusic

This week, InMusic announced that they’re buying Stanton and bringing it into their brand family. It’s an interesting decision to purchase Stanton (previously owned by Gibson) right now, especially consdiering how many other DJ brands InMusic already has. In this article, I’ll speculate about a few possible things that could come of this aquisition Over […]

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Delight Lab

Par : Marco Savo

Delight Lab is an audiovisual design and experimentation studio pivoting around the concepts of video, light and space.

Established in 2009, covering a variety of projects such as large-scale videomapping projections on architecture, museology audiovisual installations, audiovisual stage design for performing arts, audiovisual content for commercial events, and audio-reactive visuals for live shows among other things.

The origin of Delight Lab goes back when two brothers decided to make projects together at the university: Germán (Design) and Andrea (Art and Aesthetics).

Both audiovisual artists had developed investigations and experimentation with light, the phantasmagoria, the video-projection and the intervention of spaces. All different experiments culminated in a projection mapping on the facade of The Contemporary Art museum of Santiago.

This projection realized in January, 2009 was one of the first mapping projections in Chile. This milestone opened the way to further investigation, artistic and technological experimentation, interdisciplinary exchange and cultural management. These values are still present in every project carried out by the duo.



Facebook | Twitter | Vimeo | Instagram

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AVCity interviews Weirdcore

Par : Marco Savo



Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:

In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.


In the later 80’s & 90’s whilst living in different parts of the UK during my student years, I was really into rave graphics and visuals like
Stakker Humanoid and FSOL.

I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today  / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.

In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.

It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.

  • Weirdcore_Audiovisual_Artist_Interview9



Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.

I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.

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This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.

Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…

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  • Weirdcore_Audiovisual_Artist_Interview6



I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)



Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.

I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.

I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.

Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.

It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.


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ADAF 2020 – Call for Entries

Par : Marco Savo

DEADLINE: 1 June 2020

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF) is evolving and launching an ONLINE version.

Since the new era is here the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will also be presented online.

ADAF ONLINE | Technotribalism will take place from the beginning of July till September and will be accessible to everyone through the internet.

Under this framework all audiovisual artists will be able to submit applications till the 1st of June, developing the Technotribalism idea to an online version.

The audiovisual event will host artworks from Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents and Festivals of the world that are eligible to be presented digitally.


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Future DJ Gear Concepts: Pioneer DJ CDJ-3000

Par : DJ Glitch

Over the past few years, Pioneer DJ’s CDJ has slowly descended from being an innovative, powerful tool to an outdated piece of gear. CDJs continue to get heavy use in club settings, but we suspect that the lack of a new flagship player model since 2016’s CDJ-2000NXS2 could soon have an impact on the company’s […]

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Illuart Festival – Call for Entries

Par : Marco Savo

DEADLINE: June 30 2020

EVENT: 13 November – 8 December 2020

The ILLUART FESTIVAL is looking for video artists!

The audiovisual artists are given the opportunity to participate in one of the largest light shows in Switzerland and to present their works to thousands of visitors at one of the most traditional and important locations in Zürich.

Four different video artists will be selected from all applicants in this audiovisual call. The four winners will be commissioned to create a 5-minute audiovisual production and will receive a budget of CHF 10’000.

The creations will be shown during the festival from 13 November 2020 to 31 December 2020 daily from 8 p.m.


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Unsound: 4 – 11 October 2020 KRAKOW

Par : Marco Savo

Krakow, 4 – 11 October 2020

Unsound focuses on a broad swath of contemporary music — emerging, experimental, and left-field — whose sweep doesn’t follow typical genre constraints. Influential around the world, it has developed a reputation for identifying innovative scenes and radical sounds.

It’s a platform for an exchange of artistic ideas for musicians, visual artists, curators, journalists, record label owners and booking agents from every continent.  

The theme for Unsound 2020 is Intermission. Meaning a break in a performance or production, here it also refers to the rupture caused by COVID-19, a period starkly separating before from after. The word therefore embodies multiple, and somehow contradictory, forces.

The audiovisual event takes place every year at a number of venues across Kraków, regular events also take place in New York, Adelaide, Toronto, and London. Between 2016 and 2018, Unsound also produced eleven festivals in Eastern Europe, Central Asia and the Caucasus, part of a long history of working with curators and artists in the post-Soviet region. 

As well as spotlighting emerging artists, Unsound also commissions new shows and encourages trans-border collaborations, adapts and re-imagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project.

Krakow, Poland



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Akai’s new MPC Live II: a standalone tool with built-in monitors

Akai Professional is back with a new piece of gear: the launch of the MPC Live II. The latest member of the MPC family is the first of its kind to offer a unique, handy feature for producers everywhere: built-in stereo monitors. It also comes with a swath of features that includes standalone production capabilities, […]

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When We Stayed Home dévoile sur Oculus le vide des villes confinées

Par : Sitraka R
documentaire vr when we stayed home

Disponible sur Oculus, When We Stayed Home est une série documentaire qui permet de voir les rues vides des villes du monde entier au mois d’avril 2020. Une expérience presque onirique pour revivre cette facette inoubliable des diverses mesures de confinement.

De fait, il s’agit d’une compilation de vidéos en 360° montrant des promenades dans ces lieux désertés. Avec chaque épisode, on prend connaissance avec une ville à travers différents personnages qui contribuent à sa vivacité.

À ce jour, deux premières vidéos, centrées sur Paris et Venise, sont disponibles pour Oculus Quest et Go. Pour y accéder, les possesseurs de Quest peuvent consulter l’étagère « Must-See Immersive Videos » dans Oculus TV. Mais on peut passer par la page dédiée à une ville pour sauvegarder le contenu afin de le consulter sur Oculus Go. D’autres épisodes sont prévus d’ici juin 2020. Ceux-ci se focaliseront sur Tokyo et Jérusalem. When We Stayed Home rejoint donc la panoplie d’offres VR et AR pour faire le tour du monde ou se cultiver depuis son salon.

Paris et Venise d’un autre angle avec When We Stayed Home

En attendant de partir au Japon et en Israël, les réalisateurs de la série documentaire vous proposent de rencontrer Jérôme Callais. Installé depuis 30 ans en bord de Seine, ce libraire tient le rôle du narrateur dans le premier épisode centré sur Paris. Comme la plupart des commerçants, il a dû fermer boutique le mois dernier. Dans la vidéo, ce Parisien nous partage ces appréciations sur la capitale, mais aussi ses angoisses face à la situation actuelle.

Le second volet de When We Stayed Home nous introduit quant à lui à Alex Hai, le premier gondolier transsexuel de Venise. À pied d’œuvre sur les canaux de la ville depuis 24 ans, l’homme est pris de court par le confinement. En effet, celui-ci l’oblige à déposer les rames pour la première fois de sa longue carrière. Optimiste au milieu de cette pandémie, il nous rappelle comme Venise a survécu à travers les siècles et les épidémies. Des paroles pleines d’espoir dont on aurait tous besoin en ce moment. Alors, n’hésitez pas y jeter un coup d’œil si vous avez le matériel requis.

Découvrez la bande-annonce :

Cet article When We Stayed Home dévoile sur Oculus le vide des villes confinées a été publié sur Réalité

FullDome Festival

Par : Marco Savo

Jena, May 13 – 16 2020 – EDITION IN STREAMING

The FullDome Festival is the oldest and only fulldome festival with an unbroken continuity. With about 800 contributions from 30 nations and more than 500 visitors per year, the audiovisual event is most probably the biggest international festival of its kind.

Visitors do not only see and evaluate a great variety of international fulldome films, they meet professional, student and independent producers and take part in paper sessions, workshops, diverse presentations and expert talks. Festival curators, an international jury and the festival directors evaluate the submitted works and select the most interesting and innovative productions for the festival from these submissions and determine the works for one of the festival’s awards.

A core mission of the FullDome Festival has always been to encourage students to stretch the envelope of what’s possible in the dome. It is amazing to see completely new approaches to the medium at each festival. Many are really creative, some even can compete with professional works. For most students, the FullDome Festival not only offers an introduction to the medium, it is often the only way to present, and is one of the few public venues.



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Peut-on vraiment apprécier l’art par AR ou VR ? Une étude neurologique répond

Par : Sitraka R
étude sur la découverte de l'art via AR et VR

Les restrictions imposées par la pandémie de Covid-19 ont poussé de nombreux musées et galeries à proposer aux visiteurs bloqués chez eux de découvrir des œuvres d’art en AR ou VR. Mais que valent ces visites virtuelles face à une expérience réelle ? De nombreux esthètes diront que rien ne vaut un tête-à-tête avec Mona Lisa, mais une nouvelle étude neurologique pourrait bien faire voler en éclat ces préjugés.

Menées par des scientifiques du MIT en collaboration avec la startup Cuseum, les recherches ont porté sur les effets de l’art sur un individu. Sur une durée de 10 mois, ils ont comparé les réponses neurologiques face à une œuvre vue en VR, AR, en deux dimensions ou en vrai.

En tout, neuf individus qui n’ont aucune affinité particulière pour l’art ont constitué l’échantillon. Ainsi, les chercheurs ont observé leurs réactions quand ils ont découvert des œuvres d’art en VR et AR, mais aussi en 2D (via un iPad) et en vrai au Musée des Beaux-arts de Boston. Pour se faire, les cobayes devaient porter des casques spéciaux permettant d’enregistrer leur activité cérébrale.

Des résultats qui défient les idées préconçues sur l’art et l’AR/VR

Certains pourront être surpris des résultats obtenus par les scientifiques. Selon ces derniers, découvrir une œuvre via une reproduction digitale ne dégrade nullement l’expérience. Dans le cas de la réalité augmentée, les individus étudiés ont même montré une amélioration de leur activité cérébrale par rapport à une expérience dans le monde réel. En AR, la personne se rappelait plus souvent l’œuvre dans les semaines qui ont suivi l’expérience.

Cuseum, le partenaire dans cette étude, crée des outils digitaux à destination des musées pour améliorer l’engagement de leurs visiteurs. La société n’a pas manqué de citer ces résultats lors du lancement de son nouveau produit. Baptisé Museum From Home, cet outil AR a pour objectif de faire entrer les musées chez nous.

Si l’on ne peut pas dire que visiter un musée virtuellement est supérieur au fait d’y aller en chair et en os, AR et VR ont un vrai plus à apporter au monde de l’art. De plus, il s’agit plus d’une question d’affinité que de compétition. Chacun peut trouver la meilleure façon pour lui de découvrir une œuvre.

Cet article Peut-on vraiment apprécier l’art par AR ou VR ? Une étude neurologique répond a été publié sur Réalité

Apple releases major Logic Pro X update with Live Loops, Step Sequencer

Apple’s Logic Pro X saw a huge update today – referred to as the “biggest update” to the production software since its launch in 2013, by Apple themselves – with its latest edition, 10.5. Some of the most notable additions to the software with this update: a new live loops feature, the Step Sequencer editor, […]

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Moog releases new synthesizer: The Subharmonicon

Moog is back with the launch of their newest synthesizer: the Subharmonicon. It’s a semi-modular polyrhythmic analog synth with a 6-tone sound engine and a multi-layered clock generator. The Subharmonicon was built, according to Moog, to “explore the world of subharmonics, polyrhythms, and the unique relationships they create.” The Moog team continued on to describe […]

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