Anthropic CEO Dario Amodei calls OpenAI’s messaging around military deal ‘straight up lies,’ report saysAnthropic gave up its contract with the Pentagon over AI safety disagreements -- then, OpenAI swooped in.

Bitcoin’s bullish momentum accelerates but topping $78K remains a challengeBitcoin’s rally is accelerating, but 43% of holders are still at a loss, leading traders to favor put options. Will this week’s gains hold?

Vape-powered Car Isn’t Just Blowing SmokeDisposable vapes aren’t quite the problem/resource stream they once were, with many jurisdictions moving to ban the absurdly wasteful little devices, but there are still a lot of slightly-smelly lithium batteries in the wild. You might be forgiven for thinking that most of them seem to be in [Chris Doel]’s UK workshop, given that he’s now cruising around what has to be the world’s only vape-powered car.
Technically, anyway; some motorheads might object to calling donor vehicle [Chris] starts with a car, but the venerable G-Wiz has four wheels, four seats, lights and a windscreen, so what more do you want? Horsepower in excess of 17 ponies (12.6 kW)? Top speeds in excess of 50 Mph (80 km/h)? Something other than the dead weight of 20-year-old lead-acid batteries? Well, [Chris] at least fixes that last part.
The conversion is amazingly simple: he just straps his 500 disposable vape battery pack into the back seat– the same one that was powering his shop–into the GWiz, and it’s off to the races. Not quickly, mind you, but with 500 lightly-used lithium cells in the back seat, how fast would you want to go? Hopefully the power bank goes back on the wall after the test drive, or he finds a better mounting solution. To [Chris]’s credit, he did renovate his pack with extra support and insulation, and put all the cells in an insulated aluminum box. Still, the low speed has to count as a safety feature at this point.
Charging isn’t fast either, as [Chris] has made the probably-controversial decision to use USB-C. We usually approve of USB-Cing all the things, but a car might be taking things too far, even one with such a comparatively tiny battery. Perhaps his earlier (equally nicotine-soaked) e-bike project would have been a better fit for USB charging.
Thanks to [Vaughna] for the tip!

South Korea’s music industry unites to declare ‘war’ on AI copyright infringementSix music rights organizations have formed a coalition, declaring a "state of emergency" and making what they describe as a "declaration of war" against AI copyright infringement.
Source

Legendary Drummer Thomas Lang to Rock DW London on March 19

London’s drum community just got an early spring surprise: legendary Austrian drummer Thomas Lang will be kicking off the launch of DW London with a live performance that promises to shake Denmark Street. The event takes place on Thursday, 19th March 2026, from 18:00 to 21:00 at the brand‑new DW showroom inside the Roland Store London, and best of all, it’s free to attend.

Lang isn’t just another face behind the kit. He’s earned global respect for his jaw‑dropping technique, musical versatility, and decades of session work spanning pop, rock, jazz fusion and more, having played with artists from George Michael and Robbie Williams to Robert Fripp and Tina Turner. What makes him especially exciting for this opening gig is how he bridges the worlds of elite playing and education—a drummer’s drummer who truly understands what it takes to bring out the best in both talent and gear.

“I am excited to be playing live at the opening off the new DW London showroom,” Lang said, adding with his trademark enthusiasm, “Every drummer knows you can’t beat going to a real drum shop and trying an actual kit to truly begin to understand exactly what drums you really want to play! This is an exciting place for drummers to visit." That sentiment—about feeling the sticks in your hands and hearing drums resonate in the room—captures the spirit of this launch.

The DW London showroom, set in the historic musical hub of Denmark Street, will house the largest selection of DW Drums in the U.K., including Slingerland and PDP lines. Designed as a hands‑on space, it aims to help drummers explore shell configurations, woods, finishes and hardware firsthand—a haven for pros, educators, collectors, and anyone serious about how a drum feels and sounds.

Roland Store London manager Jueze Phoenix emphasises that this isn’t just a retail space, but a place to collaborate and experiment: “Here at Roland Store London, we’ve created a space where you can come in, explore, and build the DW kit you’ve always wanted. Our expert team is here to share our experience and help you get exactly what feels right. Whether you’re just starting out or a seasoned pro, there’s something here for every drummer.”

Whether you’re aiming to audition the latest DW shells, chat with gear experts, or simply catch a master at work, this launch night is shaping up to be one of the year’s must‑attend rhythm events in the U.K. Mark your calendar, grab your (free) ticket, and come hear why DW is touted as The Drummer’s Choice.

Find out more about DW Drums at dwdrums.comThe post Legendary Drummer Thomas Lang to Rock DW London on March 19 first appeared on Music Connection Magazine.

BOOM Library release Cinematic Metal (Remastered) Sound-design experts BOOM Library have just launched a new and improved library that improves upon one of their most popular legacy titles. 

Waldorf Iridium Desktop MK2 Waldorf Iridium Desktop MK2 The Waldorf Iridium Desktop MK2 represents the latest evolution in Waldorf's prestigious line of digital synthesizers, condensing the immense power of their flagship Quantum engine into a compact, rack-mountable desktop format. Building upon the success of the original Iridium, the MK2 iteration refines the hardware experience while maintaining the 16-voice polyphony and dual-timbral architecture that made its predecessor a staple in modern sound design. At its heart, the Iridium Desktop MK2 utilizes three oscillators per voice, each capable of five distinct synthesis models: Wavetable, Waveform (Virtual Analog), Particle (Sampling and Granular), Resonator, and the highly versatile Kernel synthesis. This multi-engine approach allows producers to transition seamlessly from classic analog-style warmth to complex, evolving textures that push the boundaries of digital synthesis. The user experience is centered around a high-resolution industrial-grade touch screen that provides immediate visual feedback and tactile control over every parameter. Whether you are drawing complex modulation curves with your finger or navigating the expansive 40-slot modulation matrix, the interface is designed to bridge the gap between deep menu-diving and intuitive hardware workflow. The MK2 hardware features a sturdy metal chassis and high-quality aluminum knobs, ensuring it meets the demands of both high-end studio environments and rigorous live performances. With a massive internal memory capacity of 7000 patch slots and compatibility with Quantum patches, the Iridium Desktop MK2 serves as a comprehensive sound design workstation that integrates easily into any professional setup via its extensive MIDI, CV, and USB connectivity. Beyond its internal synthesis capabilities, the Iridium Desktop MK2 excels as an external signal processor and performance tool. It features a digital dual resonant filter with various models inspired by Waldorf classics like the Nave and PPG, alongside a "Digital Former" section for additional bit-crushing, drive, and comb filtering. The inclusion of a 4x4 silicon pad matrix allows for the triggering of notes, chords, and sequences, while the 32-step sequencer and sophisticated arpeggiator provide endless rhythmic possibilities. With the latest OS updates introducing MIDI 2.0 support and high-resolution data processing, the Iridium Desktop MK2 remains at the forefront of synthesizer technology, offering unparalleled expressive potential for the modern musician. Features: 16-Voice Polyphony: Capable of rich, complex layers with dual-timbral (split or layered) functionality. Five Powerful Synthesis Engines: Includes Wavetable, Virtual Analog (Waveform), Granular/Sampling (Particle), Resonator, and 6-operator Kernel FM synthesis. Three Oscillators per Voice: Each oscillator can independently run any of the five synthesis models. Digital Dual Filter: Two independent stereo filters with various modes (12/24dB LP/HP/BP) and models (Nave, Largo, PPG, Quantum, StateVariable). Digital Former: Additional per-voice algorithms including Comb Filter, Bitcrusher, Drive, Ring Modulation, and more. 40-Slot Modulation Matrix: Massive routing flexibility with fast assign modes and multiple sources/destinations. Intuitive Touch Interface: Large, responsive color touch screen for drawing envelopes, curves, and managing deep parameters. 4x4 RGB Pad Matrix: Silicon pads for launching notes, chords, sequences, and arpeggios. Extensive Connectivity: Includes 2x TS inputs/outputs, 4 CV inputs, Gate In, Trigger In, Clock In/Out, and DIN MIDI In/Out/Thru. USB & Storage: USB MIDI (Host and Device), MicroSD slot for samples and presets, and 2GB of user sample flash memory. Master FX Section: Five slots per timbre including Reverb, Delay, Chorus, Phaser, Flanger, and an integrated Compressor. MIDI 2.0 Support: Compatible with the latest high-resolution MIDI standards for enhanced expressive control. Read More

Kaytranada shares mixed feelings about having a signature sound: “It’s not something I fully embrace”Most producers long to forge a sonic footprint that is uniquely theirs, and instantly recognisable – for Kaytranada, having a “signature sound” isn’t something he fully accepts.
Kaytranada recently released his fourth album, titled Ain’t No Damn Way!, back in August 2025. He believes his sound across his discography is inspired by a range of influences, from hip-hop and R&B, all the way to disco. Having drawn from so much inspiration, he’s not so sure if he can fully take ownership over a specific sound.

READ MORE: Watch Fred again.. perform with Thomas Bangalter during final night of Alexandra Palace residency

Speaking to Billboard, he looks back on his debut album, 99%, and how he was inspired by MSTRKRFT’s Fist Of God album when making it.
“My approach was like, ‘How about I do whatever they’re doing, but in a hip-hop and R&B filter way.’ That was the main inspiration of that album, or even of my journey into making electronic music. I don’t think there were a lot of people doing that, so I embraced that fully.
“For some reason, I’m the pioneer of what that became… some people call it the Kaytranada sound, which is funny, because I was just inspired by what was going on in the electronic scene and fusing it with hip-hop, R&B and boogie music, like disco. That was the influence,” he says.
“For that to be called ‘the Kaytranada sound’ is still funny to me. I don’t know if it’s [my] humbleness or whatever, but it’s not something I fully embrace, because I was inspired by so many things.”
Moving on to his most recent album, he goes on to add: “That [new] album is a collection of beats I had stashed, and also some new ones… It was a lot of instrumentals that were meant to be on previous projects, and I just tweaked them a bit and made it become a compilation, because part of me wanted to showcase my beats.

“I’m very inspired by beat tapes. Daily I listen to J Dilla beat tapes, Madlib beat tapes, Black Milk beat tapes. Those producers, who are mainly hip-hop producers, are my inspiration. Even the producer Knowledge has dropped a couple house tapes on his Bandcamp, and that was also an inspiration to the project.”
Kaytranada is currently working on new music. You can catch him live later this year, with shows kicking off in May – find out more via his official website.
The post Kaytranada shares mixed feelings about having a signature sound: “It’s not something I fully embrace” appeared first on MusicTech.

March Gifts: choose one of three FREE plugins with any purchase at Plugin Boutique
Plugin Boutique’s monthly free gifts have provided some of my favorite deals over the last few years, and they are now back with their March Gifts available with any purchase at Plugin Boutique. This month, we have a choice of three plugins: Diginoiz Distiller Audiomodern Riffer Celemony Melodyne 5 Essential There’s been a change to [...]
View post: March Gifts: choose one of three FREE plugins with any purchase at Plugin Boutique

How Apple’s new M5 Pro and M5 Max-equipped MacBook Pro could supercharge your music projectsApple has unveiled its latest MacBook Pro and MacBook Air models, featuring its next-generation M5, M5 Pro and M5 Max chips, delivering “blazing-fast” performance for the most demanding of music projects.
The new MacBook Pro comes in 14- and 16-inch configurations, with the former available with an M5, M5 Pro or M5 Max chip, and the latter with an M5 Pro or M5 Max chip. Meanwhile the fresh MacBook Air comes in 13- and 15-inch options, with the M5 chip as standard in both.

READ MORE: We’re deep into a RAM crisis — will music gear prices go up?

These machines – the new MacBook Pro, in particular – are squarely aimed at professionals seeking the most up-to-date and technologically capable laptop for their most demanding projects. So for musicians and music producers working with complex and CPU-intensive projects on the regular, they’ll come as a tantalising prospect.

READ MORE: Novation unveils the latest generation of its Launch Control DAW controller: here’s everything you need to know

Should you consider the new MacBook Pro and MacBook Air as a music producer?

Any of us who work with modern music software are well aware of its CPU demands, particularly when you get into complex-project territory with lots of tracks and plugins all operating simultaneously.
You’ll also sympathise with the feeling that a machine that felt fast and capable when you bought it seems to grow slower over time as new software is released with greater and greater system requirements.
These new MacBook models and their respective M5 chips arrive as the most up-to-date and advanced of Apple’s current lineup, and promise to comfortably handle even the most demanding of DAW projects.
Generally, music production isn’t quite as taxing on a computer as other disciplines like video editing, with the latter placing relatively greater demands on the machine’s CPU and GPU. The case could be made therefore that for many producers, the latest MacBooks and their chips – particularly the M5 Pro and M5 Max – might be a little overkill. Unless you’re working with incredibly complex projects – with stacks of CPU-intensive plugins running in tandem – you’ll probably get by just fine with one of Apple’s older MacBooks.
Credit: Apple
Generally, as a minimum requirement for music production, you’ll want your machine to have a quad-core processor and at least 8GB RAM (16GB is generally recommended). The new MacBooks’ M5 chips feature up to 18 cores, with “unified memory” – meaning the CPU, GPU and RAM are all on a single chip – starting at 24GB or 36GB. So it’s more than enough, put it that way.
That said, you can never have too much processing power, so if you’ve got the cash to spend, nabbing a one of the new M5-equipped MacBooks could be a smart way to future-proof your workflow for years to come.
New MacBook Pro and MacBook Air – features at a glance
Credit: Apple
The M5 Pro and M5 Max chips found in the new MacBook Pro feature Apple-designed Fusion Architecture and are “engineered from the ground up for AI”, Apple says. They feature up to 18 cores, with six super cores (“the world’s fastest core”) and 12 new performance cores, optimised for “multithreaded pro workloads” and delivering up to 30% faster performance.
Elsewhere, the new MacBook Pro promises up to 2x faster read/write performance than the previous generation, with speeds up to 14.5GB/s.
In terms of storage, the M5 Pro-equipped MacBook Pro comes with 1TB of storage as standard, while the M5 Max-equipped MacBook Pro comes with 2TB. Meanwhile, the 14-inch MacBook Pro comes with 1TB storage.
Elsewhere, you get a best-in-class Liquid Retina XDR display and a host of connectivity including three Thunderbolt 5 ports, 8K compatible HDMI, an SDXC card slot for quick media import, and MagSafe 3 charger port for fast charging.
Meanwhile, the new MacBook Air comes with a 10-core M5 chip with a Neural Accelerator in each core for enhanced workflows, plus 512GB starting storage and a Liquid Retina display, and two Thunderbolt 4 ports. Both the new MacBook Pro and MacBook feature a wealth of specs geared towards AI and LLM processing in a range of disciplines from image generation and video editing to music production.
New MacBook Pro and MacBook Air – pricing and availability
Credit: Apple

MacBook Pro 14-inch with M5 Pro – starts at $2,199 / $2,049 for education
MacBook Pro 16-inch with M5 Pro – starts at $2,699 / $2,499 for education
MacBook Pro 14-inch with M5 Max – starts at $3,599 / $3,299 for education
MacBook Pro 16-inch with M5 Max – starts at $3,899 / $3,599 for education
MacBook Air 13-inch with M5 – starts at $1,099 / $999 for education
MacBook Air 15-inch with M5 – starts at $1,299 / $1,199 for education

All models are available for pre-order now, with Apple promising the first models to be delivered to customers and available in Apple Store locations and at Apple Authorized Resellers starting Wednesday, 11 March.
The MacBook Pro in all configurations comes in both space black and silver, while the MacBook Air comes in sky blue, midnight, starlight, and silver.
Learn more at the Apple Newsroom.
The post How Apple’s new M5 Pro and M5 Max-equipped MacBook Pro could supercharge your music projects appeared first on MusicTech.

TrackSpacer Finally Has a Free Rival (Actually, Two of Them)
If you’ve ever struggled to make a vocal sit cleanly on top of a busy instrumental, you’ve probably wished for a smarter alternative to sidechain compression. That’s exactly the problem spectral ducking solves, and for years, Wavesfactory’s TrackSpacer has been the go-to tool for the job. But TrackSpacer costs $59. And until recently, there wasn’t [...]
View post: TrackSpacer Finally Has a Free Rival (Actually, Two of Them)

Missed 303 Day? Fear not – this Roland TB-303 plugin is still 67% off until 8 MarchYesterday was 3 March – thus 303 Day, an annual – and somewhat niche – celebration of the iconic Roland TB-303 Bass Line synthesizer.
But even if you missed the day itself, fear not, as Plugin Boutique is hosting this killer deal on Roland’s own TB-303 plugin version until 8 March, which includes 67% off, bringing the price tag down from £133 to just £43.
[deals ids=”7dAHxL0IZ0Aa6iYud1CHk4″]
Though now an iconic unit and something of a cult classic, the physical Roland TB-303 has had a rocky history. 
Launched in 1981, the TB-303 was a synthesizer which emulated the sound of real bass guitars, but became known for its somewhat unnatural, squelchy character and was initially a commercial failure, leading to its discontinuation in 1984.

READ MORE: “There’s no other machine that has a sound so remarkable” – Artists give their take on the TB-303

In the years following, producers recognised its potential for EDM subgenres like acid house and techno, and it has since built a cult following among electronic musicians.
The original TB-303 featured a single oscillator which offered either a sawtooth or square wave, followed by a 24 dB/octave low-pass filter and envelope generator. Roland’s TB-303 Software Bass Line stays true to the original architecture, giving producers the sound that helped shape genres in a single plugin.
“Some instruments are so groundbreaking they create entire musical genres,” says Plugin Boutique. “The TB-303 is one of these influential instruments, but it wasn’t always seen that way.
“ When Roland released the TB-303 in 1981, it was marketed as a computerised bass machine to simulate a traditional bass guitar, but didn’t quite catch on. Later on, inventive electronic musicians discovered the 303, often on the secondhand market, and found new uses for its recognisably fluid low end…
“While we may never really understand why the 303 sound makes people want to dance, there’s no denying its power, influence and unwavering ability to get a party started.
It’s a rich legacy, and one which you can add to your production arsenal right now for just £43.
Learn more at Plugin Boutique.
The post Missed 303 Day? Fear not – this Roland TB-303 plugin is still 67% off until 8 March appeared first on MusicTech.

“You could work for 10 years on a Sphere show if you wanted to”: Inside the creation of Illenium’s odysseyThis week, ILLENIUM will join the ranks of Metallica, U2, Dead & Co, and Eagles when he steps on stage at the Las Vegas Sphere to open ODYSSEY, his residency running nine dates between 5 March and 4 April.

READ MORE: “A lot of people know me as a guitar player, but I want to showcase my production”: Cory Wong

For roughly 90 minutes, the audience will engage with a 16K, wrap-around screen and 167,000 individually amplified loudspeaker drivers as two warriors battle to a soundtrack that ILLENIUM, real name Nick Miller, crafted specifically for this show.
For over a year, the producer, DJ, and multi-instrumentalist captained a crew of more than 100 people: management, media, lighting, special effects, visual designers, sound engineers, production, performers, and more, to bring this multimedia sensory experience to life.
A visual from ILLENIUM’s ODYSSEY at Las Vegas Sphere. Image: Press
Miller has been directing electronic music performances on a large scale for years. In 2021 and 2023, he led his Trilogy stadium shows, which used two different stages for three distinct sets, one of which featured a five-piece band. But even with that history, working in the Sphere, with its state-of-the-art immersive visual and audio capabilities, represented a special opportunity.
“I’ve been touring for over 10 years, and I’ve done the ‘make an album, make a cool live show’ [thing]. I always love doing that, but I wanted something refreshing and challenging,” Miller says. “Where can we creatively make an impact? At Sphere, you can just do so much more. It is one of a kind. You could work for 10 years on a [Sphere] show if you wanted to. You would still be pushing things. So, to have the opportunity to do that, I gotta take it. I gotta build everything around that.”
Miller’s last point was literal — he produced his new album, ODYSSEY, specifically to fuel his Sphere performance. But building everything around the residency goes one layer deeper: Miller and the core members of his team developed new skillsets and ventured into new technical areas to maximise the experience at the venue.
Miller has learned a type of Ableton-based performance he’s never employed before. Cameron Scurek, Miller’s front-of-house engineer and crew chief, worked with spatial engineers for as many as 12 hours per song in the set. They mixed each one, placing every audio element throughout Sphere’s expanded range precisely. Miller’s visual director, Sandy Meidinger, flew to Berlin to work directly with Woodblock Animation Studios on the 90-minute narrative that was built from storyboards, just like an animated feature film.
“I’ve been touring for over 10 years, and I’ve done the ‘make an album, make a cool live show’ [thing]. I always love doing that, but I wanted something refreshing and challenging”
Leading by example as he takes new challenges head-on is key to Miller’s leadership style on these big shows.
“Nick decides he wants to do something, and I feel like I’m not ready to do it, but he forces me into the position. Then I grow and get a lot of new skills,” Meidinger says. She adds that, beyond the prospect of learning everything new for Sphere, the bar of what to expect was high following Anyma’s Sphere residency last year. “We have to stand out. We have to be the best. Sometimes it’s difficult to deal with the pressure, but we’ve been working together for so long, I always feel supported. It’s not only on my shoulders.”
Miller and Meidinger started collaborating in 2016. She was there for every show that set a new standard, from Illenium’s first arena show onwards. So, when it came time to develop the visual element for Sphere, he trusted her completely. That made it seamless for the Woodblock team to fold into their longstanding dynamic.
“You are always going in the same direction. It felt very natural to be part of that. It didn’t feel like there was any conflict, or different visions of what this should be,” says Ilija Brunck, CEO of Woodblock, referring to Meidinger on a shared Zoom call. “‘Let’s embark on this journey. Let’s do it together.’ We all worked towards the same goal.”
A visual from ILLENIUM’s ODYSSEY at Las Vegas Sphere. Image: Press
With Meidinger and Woodblock in sync, Miller’s involvement in the visuals expanded into an oversight role. They regularly checked in with him for feedback, and, like a film director, he was there to ensure everything on Sphere’s 160,000-square-foot screen aligned with his vision —with the story he wanted to tell.
“I called it ODYSSEY because it’s a journey of really beautiful moments, and really dark and intense moments,” Miller shares. “It’s balance, having a light side and a dark side, yin and yang, acceptance.”
In truth, the idea of the story was all Meidinger and Woodblock had to go on at first. The visual process began before Miller even finished the album. It was January 1, 2025. He and Meidinger saw Anyma’s show at Sphere, and the inspiration flooded from there:
“Nick was like, ‘We don’t have the show yet, but just act like we do,’” Meidinger says. “‘Start reaching out to studios. Start figuring things out.’”
A visual from ILLENIUM’s ODYSSEY at Las Vegas Sphere. Image: Press
Woodblock Animation was the natural choice because it also produced Anyma’s set. By the following March, they had a PDF of a rough layout and a few paragraphs of text. Then, until August, when Miller finished the album, he and Meidinger would take time while they were still on tour to pass notes back to Woodblock.
Their initial goal was to convert the music and the story into key scenes that formed a foundation, but could also be altered as changes were made during the creative construction of the visuals. Once they had the music, it was full speed ahead. 65 animators worked in Houdini [3D animation software] to design the images.
“You can compare it to when you adapt a book for a feature film. You cannot translate a story one-to-one because there are certain scenic rules and editing rules. It’s a different narrative structure,” says co-founder of Woodblock, Jan Bitzer. “You can think of Sphere in the same way. The ideas were there, but you have to adapt them to that special format. It was a super fun part of the project—trying to distil key moments of the story into bite-sized scenarios that propel the story forward, but are not too complex.”
Image: Press
Now, with the months-long process just about complete, Meidinger has seen the story of the visuals unfold before her:
“It’s a story of two female warriors. They’re searching for something, and ultimately, they find each other,” Meidinger says. “They find wholeness. They find a state of rest—a state of being complete.”
It’s Miller’s job to direct the warriors through their journey with the music and performance. The album complements the emotional peaks and valleys of the story with his celebrated talent for dynamic range. Softer tracks, such as the pure orchestral composition, Monster, suggest they will come to rest. But along the way, there will be intense battles fueled by the blaring intensity of Slave to the Rithim, Miller’s electronic/metal collaboration with Bring Me the Horizon.
“I built the album thinking of the show constantly, but this also needs to be a beautiful standalone album. I would never get behind something that is just a sidestep to something else,” Miller says. “I really care about my albums, and I feel like it turned out to be the most interesting of all [of them]. I did different things production-wise and songwriting-wise. The undertone throughout each song is not a signature sound, but a familiar feeling.”
A visual from ILLENIUM’s ODYSSEY at Las Vegas Sphere. Image: Press
Miller is quick to admit the familiar feeling for ILLENIUM is grand euphoria, shepherded by his favourite software tools: Sylenth, Omnisphere, and Serum 2. The album (and surely the show) offers many of those moments through his classic melodic bass sound, as on In My Arms, the soaring collaboration with HAYLA, and the cinematics of I’ll Come Runnin’, the co-production with Zeds Dead.
But, like the rest of his team, Miller pushed himself out of his comfort zone to honour the grand undertaking of Sphere. On ODYSSEY, he explored more production techniques specific to house music, while still integrating that familiar feeling of dramatic EDM. On some tracks, it’s more pronounced, such as with the golden age EDM throwback With Your Love, but on the progressive roller To The Moon, the ILLENIUM frivolity sneaks in during the breakdown like fireflies buzzing in the middle of the night.
When Miller’s on stage at Sphere, he’ll control and improvise with different bounced out stems from his tracks. He has two Audima Labs Sway motion controllers. Rather than playing keys, simple hand movements will activate chosen sounds in precise reaction to the music and what he’s feeling in the moment. Another is the Embodme Erae 2, a MIDI controller with 3D touch, which he uses for looping sequences and controlling instruments.
Image: Press
When I chat with Miller, he has been practising on this new rig for months already, dialling in different effects and other settings so he can operate freely without worrying too much about mistakes.
“It’s gonna be really simple, fun, and ideally hard to make mistakes. When I play guitar, I fuck up a lot, and here I want to make it a lot more seamless and safe,” Miller says. “If I have all my settings right, it’s not gonna destroy the sound too dramatically. It takes some fine-tuning, but there’s a nice balance of doing all of these live edits in a really cool way, but not too aggressively.”
This isn’t just another DJ set. It’s an entire cinematic production. Film scores don’t mess up in the theatre, and after over a year of hard work, he wants to stand on that stage and deliver the best experience possible for himself, his team, and the hundreds of thousands of fans that will show up throughout all nine shows:
“When it comes down to it, I want to make music that gives people a moment to be fully encapsulated by the sound,” Miller says. “We gave all of our final notes [on the show], and some of them are gonna be accomplished, and some can’t, and that’s just, like, part of the deal. But I think it’s probably gonna get to 97%, which is pretty damn good.”
The post “You could work for 10 years on a Sphere show if you wanted to”: Inside the creation of Illenium’s odyssey appeared first on MusicTech.

How SXSW Works For MusicThis week, Ari is joined by Brian Hobbs and Dev Sherlock of SXSW to break down everything you need to know about the festival.

Frap Tools Magnolia now available The Magnolia draws on Frap Tools' experience with Eurorack modules, and aims to bring a modular-like experience to the world of polysynths.