There’s no doubt that one of the key elements in any at-home artist setup – whether it’s your production studio or your DJ booth – is the monitors. This can become a costly endeavor if you are both producing and DJing, as you likely have different pairs for your separate spaces. Pioneer DJ has decided to tackle […]
The post Pioneer DJ’s DM-50D desktop monitors aim to be the all-in-one choice for production + DJing appeared first on DJ TechTools.
Releasing music is forever enchanting and brings about joy, excitement, and deep satisfaction. But it does come with price and efforts, often planned out a year in advance if not longer (for example, Frank Wiedemann as part of Howling took 5 years to work with his partner to make an album). It goes without saying […]
The post Indie Artists: Here’s how to make your new release stand out appeared first on DJ TechTools.
There was a time, pre-1971, when all mixers were mono, and the thought of wearing headphones during a nightclub gig was laughable. Dance club DJing came into its own as an art form in the 1960s, but DJs back then were still stuck with mixers designed for radio broadcasting. Sound systems were custom installed at […]
The post A love letter to Rosie, the first mixer made just for DJs appeared first on DJ TechTools.
Producer David Lizmi discusses the soul of Cuban music, its influences, and the relations built based on this illustrious industry.
It’s a well-known fact in the music industry that Mixcloud offers its own streaming platform, Mixcloud Live (first announced back in April 2020), that allows artists to legally livestream music and video without dealing with copyright take-downs. Just this week, Beatsource LINK announced a new partnership in conjunction with Mixcloud to utilize this capability – offering […]
The post Beatsource + Mixcloud team up so you can record & share DJ sets online sans takedowns appeared first on DJ TechTools.
Outlandish with colour and hedonism, Hard House as a genre rose to prominence in 1998 as it enjoyed almost a decade of bliss under the bright lights of the dance music skyline. Despite not experiencing the popular heights of its glory years, the legacy of the genre is still being written today by such respected […]
The post 25 years of Tidy: the Hard House evolution, and how it’s engaging the next generation appeared first on DJ TechTools.
If you’re in the market for DJ or production gear, you might have noticed two big trends right now in 2021. It’s really hard to get gear right now (many, many products are out of stock) and prices seem to be increasing. With DJTT’s unique footing (in addition to the blog, we also make our […]
The post DJ gear: prices going up, supply low – here’s why + what every DJ should do right now. appeared first on DJ TechTools.
Combination to Enhance Client Offerings, Open New Opportunities for Artist Producers SANTA MONICA – Universal Publishing Production Music, the leading global production music company, today announced that two of its companies – Santa Monica-based Universal Production Music and Dallas-based FirstCom Music – are merging to create a new U.S.-based production music powerhouse, unsurpassed in services, ...
The post Universal Production Music and FirstCom Music Combine, Establish New Gold Standard in U.S. Production Music appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.
@geraldinekwikmusic Watch the new mapping from the Etam brand on their office with my original music + visual by @_aurelien.w and eloifevrier // LoomProd.
#etam #videomapping #mapping #motiondesign #animation #animation2d #millumin #aftereffects #photoshop #noel #streetart #originalmusic #frenchcomposer #abletonlive #musicforpaintings #movingimage #digitalartist #night
@martinastellatelier Reminiscenze delle linee di luce che disegnano lo spazio. Scenografia digitale realizzata usando @millumin2
#projectionmapping #videomapping #womenartist #contemporaryart #lines #graphic #audiovisual #av #installation #digitalart #art #architecture #music #france #drawing #artist #illustration #paris #planespotting #graphicdesign #aircraft #projection #lightart #artwork #exhibition #design #electronic #digitalscenography #show #videoart
NASHVILLE— Howling Music scored the music for a new ad from the NFL, the Trevor Project and Los Angeles agency 72andSunny. Released in tandem with Pride Month, the spot proclaims the league’s support for the LGBTQ+ community through series of statements in white-on-black lettering that begins “Football is gay. Football is lesbian. Football is beautiful. ...
We’ve known it was coming for a bit, but today the updated Traktor Pro 3.5 has released. The fresh version of Traktor Pro boasts two new features that are likely to be well-received: the new streaming library features for Traktor (via Beatport and Beatsource LINK) and advanced HID integration with Pioneer DJ’s flagship CDJ-3000 players. […]
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With a career spanning over 18 years, Mathew Jonson is known and loved by many for his well-crafted melodic sounds and outstanding live performances. Almost 20 years after the release of his debut album, “A Box Full of Magic” on Dekmantel, Jonson has toured the world and signed music to numerous influential labels, including Crosstown […]
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Comme Apple va (peut-être) annoncer une version sans pertes d’Apple Music aujourd’hui, j’en profite pour revenir sur un truc sur Bluetooth. On voit parfois (et je l’ai écrit, probablement sur ce site d’ailleurs) que chez Apple, l’AAC (issu d’Apple Music, iTunes, etc.) est transféré directement à un casque en AAC, sans (re)compression. Et c’est faux.
Sous iOS, macOS ou n’importe quel autre OS, d’ailleurs, l’AAC est bien recompressé. C’est assez peu audible parce que l’AAC est un bon codec (on en parle là) et que l’encodeur d’Apple est efficace. Globalement, de l’AAC à 256 kb/s est transparent à l’écoute dans la majorité des cas. Pour le dire plus simplement, les utilisateurs ne font pas la différence entre de l’AAC à 256 kb/s et de la musique sans compression. Ils peuvent le dire (et certains ne s’en privent pas) mais ma petite expérience le montre un peu, en réalité c’est… compliqué.
Maintenant, vous pourriez ne pas me croire : pleins de gens disent le contraire. Et pourtant, deux expériences (plus ou moins) simples prouvent qu’iOS et macOS recompressent bien l’AAC.
La première est assez basique : lancez un morceau sur Apple Music et un autre programme en même temps. Ou faites retentir un son système. Vous l’entendrez dans le casque en même temps que la musique, ce qui prouve que le casque ne reçoit pas uniquement le fichier AAC d’Apple Music. Il n’y a pas de dégradation ou de coupure, ce qui montre bien que ce qui est transmis (compressé) en Bluetooth est bien la sortie audio de l’OS. C’est empirique, mais efficace et simple.
La seconde méthode le prouve de façon bien plus efficace, mais nécessite un peu de manipulation. J’ai pris un morceau morceau sur Apple Music, et j’ai enregistré la sortie en Bluetooth, avec un périphérique qui m’indique explicitement que c’est de l’AAC. Il a une sortie S/PDIF, donc on évite les conversions numérique vers analogique : ce que j’ai obtenu, c’est ce qu’un casque va recevoir avant de l’envoyer dans vos oreilles. Si Apple envoyait le fichier directement au casque, on devrait obtenir le même fichier ou quelque chose de très proche (comme le décodeur peut varier). Mais le spectre est différent : on voit très nettement que la version Bluetooth coupe les fréquences hautes.
La version Apple Music, en AAC aussi, dépasse nettement les 20 kHz sur l’extrait. La version envoyée en Bluetooth, en AAC avec une recompression, coupe aux alentours de 19 kHz (un peu en-dessous). Ce n’est pas réellement un souci, dans le sens ou la majorité des gens est incapable d’entendre un son à plus de 19 kHz, mais ça montre bien qu’il y a une coupure franche, issue du processus de compression.
Dans le même ordre d’idée, l’encodeur utilisé avec les appareils Android (ici une Nvidia Shield) coupe nettement avant, et ce site l’explique bien. La Shield, sur un autre morceau, coupe vers 17 kHz quand l’encodeur Apple coupe donc vers 19 kHz.
Le but ici n’est pas de dire que la compression AAC est mauvaise, ou réellement un problème. Je suis plutôt convaincu que l’énorme majorité des gens (pour ne pas dire tout le monde) n’entend absolument pas la différence entre l’AAC et de l’audio sans compression dans des tests en aveugle. Mais par contre, Apple n’envoie pas le flux Apple Music aux casques. C’est techniquement possible (ça a été a priori fait en MP3 il y a quelques années) mais ce n’est pas le cas ici.
Beatport, Beatsource, and Native Instruments have teamed up to bring a Beatport LINK integration to TRAKTOR’s PRO 3 software – and through it, the ability to use LINK software on TRAKTOR’s line of controllers. TRAKTOR PRO users can now utilize both Beatport and Beatsource LINK in a Public Beta mode, with an official launch coming in […]
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@cyril_meroni Fin de tournage du clip pour texture droite
Merci à toute l’équipe du 6mic pour ce tournage éclair !
#texturedroite #ledscreen #choreography #danse #musicvideo #electronica #millumin #haze #shooting #jarringeffects
Reposted from @paolo.morvan: “Detail de la scénographie réalisée pour le musicien @romain__muller
Construction et création lumière avec @julesbouit
@zikamine @bliiida @laregiongrandest
#scenographie #scenography #show #concert #singer #wood #structure #light #lightray #designproject #design #eventdesign #stagedesign #stage #musicperformance #music #audiovisual #liveav #filter #3m #millumin #led #ledlights #lightart #digitalart #installation”
LUX NATURAE / Part 1 of 6
Glad to have my music played on the bridge in Skopje last week end, written for the SKOPJE LIGHT ART DISTRICT 2020 festival.
Visual Artists : Aurélien WOJTKO @_aurelien.w/, Susie-lou CHETCUTI, Patrick GRANDI, Jules HUVIG @juleshuvig/, Frédéric HAUDEGOND
Original Music & Sound Design : Geraldine KWIK
Production : Loom Prod France
Organization : @sk_light_art_district/
Place : Stone Bridge - SKOPJE - MACEDONIA
#skopje #ckonje #macedonia #stonebridge #bridge #light #art #district #3rd #edition #going #green #mapping #projectionmapping #composingmusic #composer #orchestral #musicforpaintings #movingimage #digitalartist #night #millumin #frenchcomposer #streetart #skopjeinfo #instagraphynet #sklad2020 #skopjelightartdistrict (at Stone Bridge, Skopje)
I’m so proud of being part of this new mapping with my original music written for the casino Viage in Bruxelles played by night during full december. ( Boulevard Anspach 1000 Bruxelles )
Visual Artist : Simon Lebon
Music and sound design : Geraldine Kwik
Place : Grand Casino Brussels Viage
#bruxelles ##brussels #casino #viage #casinonight #videomapping #loomprod #originalsountrack #musicforpaintings #mapping #composer #frenchcomposer #musicscore #ambient #composingmusic #sound #sounddesign #art #visual #millumin #madmapper #motiondesign #aftereffects #design #architecturalmapping #projectionmapping #movingimage #digitalartist #night (at Brussels, Belgium)
The stage then turned into a ship launched into space with Tobin residing in a hyper-sleep pod. After dream-like hallucinations Tobin comes out actually wearing the suits shown in the animation.
A complex audiovisual narrative that blurs the boundaries between real and digital world, firing all sorts of trickery to cleanse out the audience of all their spatial references. Only when we lose all the anchor points we are truly primed to experience the digital voyage.
ISAM takes us on a journey through the unexplored universe generated by the EDM soundscape of Amon Tobin to the bring us back to the core of the action: the musician and his performance.
In my opinion, Xite Labs major breakthrough is their ability to truly animate their installation, snapping out of the static AV sculpture by delivering an immersive experience where all senses are captured within the space.
Their audiovisual world is disorienting and astonishing as it builds up in front of our eyes, departing far away from the bidimensionality of the screen experience.
Formed in the year 2000 as V Squared Labs by Vello E Virkhaus they have then merged with Tandem Digital Entertainment in 2018 to form XiteLabs.
Through the leadership of Greg Russell and Vello Virkhaus the audiovisual studio continuously executes next level experiential visual artistry.
The duo is always taking “never been done” concepts and turning them into reality. This process always starts with the blank page, and working with clients to define the words, scenery, illumination, content, interactivity, and the means to deliver it all.
Amazing Experience at @fotonicafestival
Thanks to all⚡️
@videosolid @nick_n__ck @fotonicafestival .
#techno #experimentalmusic #experimental #video #visualart #visual #vj #liveset #eurorack #conceptstore #concept #videooftheday #postoftheday #fotonica #festival #cinema #audio #electronicmusic #electronic #modularsynth #drum #nvs #performance #performanceart #color #cinema #vdmx #millumin #
Of course every open call or artist residency is welcome, no matter where it comes from. But more coordination among venues and events will bring more opportunities and visibility for young and recognized artists.
Europe has the advantage (still, let’s see for how long) of a long-lasting infrastructure that connects different cultural scenarios across a myriad of different languages and beliefs.
SHAPE: Sound, Heterogeneous Art and Performance in Europe is the result of this network in action. By fostering audiovisual artists in showcasing their work internationally and audiences in experiencing a very diverse cultural offer.
Every year, the organizers propose a controversial and thought-provoking theme set to trigger reflection in the community and cutting-edge experimentation by the selected artists. Innovation in digital creativity is key and the festival creates a sonic space for this.
Every year, the result is an insanely powerful and immersive artistic rendez-vous that leaves a lingering impact awhile after the end of the festival.
In this Age of Pandemic, we are made acutely aware of our dependence on digital technology for work, education, and healthcare. Now more than ever, the growth of digital technology demands critical reflection.
Globalization and economic growth have brought us pandemic and environmental destruction. How can we break this cycle? Can we harness quantum technology to protect ourselves and the world we live in?
The residency supports artists exploring new lines of inquiry intersecting technology & society. The aim of this program is to facilitate dialog, partnership, and collaboration at the intersection of technology and exploratory arts. By focusing on this synthesis, the program empowers artists to create work which inspires shifts in perspective and cross-collaboration.
These are the categories covered by the open call:
COMPUTATIONAL CREATIVITY & HUMAN-MACHINE COLLABORATION
EXPLORING NEW FORMATS & APPLICATIONS FOR FORWARD-THINKING MUSIC
BUILDING CREATIVE BUSINESSES
CREATING EXPERIENTIAL CONTENT
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.
EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin
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.
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.
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.
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…
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.
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.