Focusrite Scarlett 2i2 4th Gen is ideal for recording artists with a modest studioHaving been founded by studio electronics design legend Rupert Neve, it is little wonder that the Focusrite name carries so much heft in the music tech world. The company is now a far cry from the boutique outfit set up by Neve, with its fingers firmly planted in many different studio-flavoured pies, but its reputation for sonic excellence – especially in the realms of preamps and input conditioning – has remained strong.
It’s distilled this reputation into a number of different rose-themed product lines. The affordable Scarlett range of audio interfaces, which has just been updated to its 4th generation, is the focus of our attention here, specifically the Scarlett 2i2.
Focusrite Scarlett 2i2. Image: Focusrite
Two-by-two
Connection-wise, Scarlett 2i2 offers two input and two output channels. The inputs can take instrument, line or mic signals, however the connectors are split between front and rear panels – instrument/line jacks on the front panel, and mic XLRs on the rear. The inputs feed an all-new converter taken directly from Focusrite’s flagship RedNet range, and that provide 120dB of dynamic range, which is considerably more than Scarlett 3rd Gen, and very impressive for such an affordable interface.
The pair of output jacks are also rear-mounted, as you would expect, and are doubled by a front panel headphone output powered by a headphone amp that’s been newly designed for Scarlett 4th Gen. This delivers a strong level suitable for most circumstances and, whilst not the loudest, is very clean and crisp all the way to full volume.
Focusrite Scarlett 2i2. Image: Focusrite
The unit connects to the host device via USB, and whilst it can be host-powered, a second power-only USB port is included when connecting to low-power devices like laptops and tablets.
All of this is packed into a compact enclosure that sports Focusrite’s resplendent metallic red colour scheme. This stylishness has received a lift in the form of new ‘Gain Halos’ – circular level meters that surround the input gain controls and output level control. Unlike the previous generation’s halos, which simply flickered on and off, the new halos advance around the ring to provide detailed visual feedback of both signal level and, when adjusting input gain, the gain level.
Air and assistance
All input configuration – with the exception of stereo-linking the two channels – can be performed from the interface’s front panel, which is very convenient. This includes enabling the global phantom power, switching a channel between line and instrument mode, and enabling the preamp Air modes and assistance tools.
There are now two Air modes in Scarlett. The first is similar to the Air mode found in the 3rd Gen interfaces, introducing a presence peak that can be particularly flattering to vocals and other sources that carry detail in the upper-mid registers. The curve has been modified in the 4th Gen hardware, though, taking the edge off its intensity and, in doing so, marginally broadening its usefulness.
Focusrite Scarlett 2i2. Image: Focusrite
The second, entirely new, Air mode maintains the presence peak but adds to it a gentle harmonic distortion. This breathes liveliness and analogue-style sparkle into signals, and is well suited to vocals, acoustic guitars and the like. Thankfully – and unlike Scarlett Solo – Air is available via both the interface’s mic inputs and its instrument/line inputs, and what makes this particularly welcome is how well the new Air mode works with DI’d electric guitars and analogue synths – the former drives that bit harder into plugin amp simulators for a punchier sound, whilst the latter benefits from the additional high-end detail.
In addition, 2i2 includes the same Auto Gain and Clip Safe features as found on Scarlett 4i4. As its name suggests, Auto Gain listens to a few seconds of your signal and automatically dials-in the ideal input gain. Clip Safe, on the other hand, constantly monitors the input signal level and reduces the gain when it detects a peak that would result in digital clipping. Between them, these two features make light work of capturing a perfect, unclipped signal every time.
Direct control
The front panel controls are duplicated in the Focusrite Control 2 app, where there is also an option to link the two channels for stereo operation. The input level of each channel is also shown but, as we found with Scarlett Solo, there is no monitoring mixer for balancing the inputs’ direct monitor signals with each other, or with the return-from-DAW signal.
Focusrite Control App. Image: Focusrite
Direct monitoring can be switched between mono and stereo modes (with stereo mode panning the input signals to opposite extremes in the headphones to aid separation), but otherwise is either enabled or disabled, and whilst this does keep things nice and easy to use, it won’t suit everybody. Focusrite is considering adding monitor mixing to the software,but, in any event, the interface is quite zippy, with input and output latencies low enough for most purposes – we measured 8.583ms of input latency and 7.354ms of output latency at 48kHz – so monitoring via a DAW is not out of the question with Scarlett 2i2.
Sitting halfway between the more capable Scarlett 4i4 and the ridiculously affordable Scarlett Solo, the Scarlett 2i2 4th Gen represents a middle-ground solution to audio I/O. It is more flexible and sports a better feature set than Solo, yet it manages to be significantly more affordable than 4i4 without sacrificing much of the functionality – and none of the sonic credentials – of that higher-specced interface.
Key features

Price: £199.99 / €184.87 / $199.99 (USD) / $290.00 (AUD)
USB audio Interface
2 input channels, 2 output channels
Front panel line/instrument input jacks
Rear panel mic input XLRs
Rear panel main outputs
Front panel headphone output with independent volume control
Powered from host computer or via separate USB power connector
Full suite of production software including DAWs, effects and instruments
Contact: focsurite.com

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How do Spotify and streaming royalty payments work now?A controversial shift to ‘artist-centric’ streaming payments gained traction last week with the launch by Deezer of “double-boost” payments to select UMG artists, and indie powerhouse Believe blasted the plan. Continue reading
The post How do Spotify and streaming royalty payments work now? appeared first on Hypebot.

Everyone has ideas, but do you have a plan to make them a reality?Everyone has ideas. Ideas are a dime a dozen, but they are nothing more than dreams unless you have a strategy to execute them. Michael Brandvold and Jay Gilbert discuss. Continue reading
The post Everyone has ideas, but do you have a plan to make them a reality? appeared first on Hypebot.

How some musicians are using video to boost merch salesA few smart and creative artists are selling exponentially more merch using innovative marketing strategies driven by tech from Single and Shopify. Read, watch, learn, and get ready to earn.. Continue reading
The post How some musicians are using video to boost merch sales appeared first on Hypebot.

W. A. Production KickShaper Pump & Thump Kick drums form the bedrock of most music, but without a robust foundation, a mix can fall apart. We get it... sometimes you're working with kick samples that... Read More

Focusrite Scarlett 4th Gen audio interface reviews: Which Scarlett should you buy?Britsh brand Focusrite has seen roaring success with its family of Scarlett audio interfaces. Sales of the first, second and third generations of Scarlett surpassed six million, making it the most popular interface in the world. Now, with Generation 4, the company brings more features for all levels of producers to enjoy – but which model is right for you?
MusicTech has tested out the three 4th Gen Scarlett models that are currently on the market: Scarlett Solo, Scarlett 2i2, and Scarlett 4i4. Each version has practically been as impressive as the last, all boasting immense value for producers and recording artists. Whether you’re starting out your journey as a producer, musician, podcaster or streamer, or if you’re looking for an upgrade to a new interface, the Scarlett range is certainly worth considering.
Focusrite Scarlett 4th generation
What’s new?
Across the board, Scarlett 4th Gen users can enjoy a sleeker, modernised design compared to previous models. Looks aren’t everything, however, and Focusrite has made sure to upgrade the parts that matter. For example, the new Halo LED gain meters offer more detailed visual feedback of your instrument levels. Plus, the audio interface now offers 120dB dynamic range and boasts 192kHz, 24-bit audio converters from Focusrite’s pro-grade RedNet audio interfaces. They’re all equipped with USB-C connectivity to hook up to your computer, too.
Some of the new Scarletts also feature smart tools such as Auto Gain, which will automatically set your levels after you play into it for 10 seconds. No more lengthy sound checks in the studio. Clip Safe, meanwhile, checks your audio levels 96,000 times a second and will automatically adjust your gain if you’re about to clip so that you can prevent your tracks from clipping without compressors or limiters. Air Mode, a staple on the 3rd Generation Scarletts, returns in this generation, boosting the high end of your audio signal and even adding a touch of Harmonic Drive.
You’re also given access to a bundle of software to get you creating swiftly after unboxing the unit.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
Alright – now you know what’s new, check out what we’ve said about each model and whether it might be for you.
Focusrite Scarlett Solo
Only recording a couple of instruments? Maybe you’re streaming gameplay to Twitch, recording a podcast, or maybe you just want to connect your music-making laptop to some studio monitors. It’s gotta be the Scarlett Solo.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
With two inputs and two TRS jack outputs, you can connect two instruments and output the audio from your laptop to a pair of speakers. Easy for simple, fuss-free recording jobs. What you can’t do, however, is record in stereo, as one input is an XLR socket and the other is a Hi-Z input for instruments like guitars and synths. To get around this, you can use a DI box – but you’re probably better off paying a little extra on a Scarlett 2i2. A few other features are absent too, such as Auto Gain and Clip Safe, so check whether you’d like them or not.
In our review, we said: “It’s excellent value for money. Yes, you may need to add a DI box to get the most out of it, but it allows you to do an awful lot of music-making for very little initial outlay.” Read the full review for more info.
Focusrite Scarlett 2i2
The 2i2 is designed with artists in mind. Here, you’ll get two XLR inputs, two Hi-Z instrument inputs and two TRS jack outputs, you’re able to capture a couple of extra instruments at once than the Solo. You’re also able to record in stereo and, importantly, you’ll be able to use Auto Gain and Clip Safe, which will be a boon when recording.
If you’re looking for a few extra outputs and more flexibility with your inputs, you might want to consider the 4i4.
In our review, we said: “Sitting halfway between the more capable Scarlett 4i4 and the ridiculously affordable Scarlett Solo, the Scarlett 2i2 4th Gen represents a middle-ground solution to audio I/O. It’s more flexible and sports a better feature set than Solo, yet it manages to be significantly more affordable than 4i4 without sacrificing much of the functionality – and none of the sonic credentials – of that higher-spec’d interface.”
Focusrite Scarlett 4i4
Focusrite Scarlett 4i4. Image: Focusrite
Currently the most comprehensive model in the Scarlett lineup, the 4i4 offers the most connectivity with two XLR/TRS combi inputs, two Hi-Z instrument inputs, and MIDI In/Out. Four outputs are featured in the 4i4, for listening to your mix through monitors and headphones, and running your audio to outboard gear. If you’ve got a modest studio that’s slowly building up, the 4i4 should suit you best for recording and producing.
In our review, where we awarded the 4i4 a 9/10 and a MusicTech Choice Award, we said: “The new Scarlett 4i4 delivers a top-notch sound, has sufficient I/O for many different projects, is easy to use and looks smarter than ever – it’s hard to think of an interface better-suited to a small studio or portable setup.”
Learn more about the 4th Generation Scarlett range at focusrite.com.
The post Focusrite Scarlett 4th Gen audio interface reviews: Which Scarlett should you buy? appeared first on MusicTech.

Subscribe To Denise Audio Newsletter And Get Three FREE Plugins!
Denise Audio is giving away three plugins from their catalog for free when you subscribe to their newsletter – read the article below to learn how to get Crush, Slappy, and Bad Tape for free. The company is about to launch its new website with a rebuilt catalog, so you may have to wait a [...]
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Sonicware LIVEN 8bit warps firmware upgrade The lastest firmware for the LIVEN 8bit warps adds some new effects and expands the capabilities of the onboard sequencer. 

Artists back out of Japanese festival, The Labyrinth, following founder’s comments on trans issuesA number of electronic artists including Surgeon, Carsten Jost, Imaginary Softwoods, and Timnah Sommerfeldt, have withdrawn from a festival in Japan, The Labyrinth, due to controversial comments made by its founder Russ “Monk” Moench on trans rights and related issues.

READ MORE: Touring in the US “not viable”, say The Chemical Brothers

Moench has taken to Twitter – now X – in recent months to express his views on subjects such as gender pronouns and trans rights. In now-deleted posts, he criticised pronoun use, writing “the pronoun people are dumb”, and called TERF (trans-exclusionary radical feminism) a form of “misogynistic hate speech”.
The festival founder also followed and engaged with gender-critical X accounts, such as Right Side of History. After facing backlash for these actions, he made his account private and has since deleted the account entirely.
On 30 August, after a trans activist reached out to some artists on the lineup notifying them of Moench’s views, the festival founder emailed nine artists set to perform at The Labyrinth, according to Resident Advisor. In his email, he criticised the trans rights movement as “illiberal and totalitarian,” alleging misogyny and homophobia.
According to RA, Moench expressed support for “detransitioners” and termed youth gender-affirming care as “gay transversion therapy,” claiming it creates lifelong pharmaceutical dependence.
Carsten Jost has been asked not to play at the festival by Moench after criticising the email.
Speaking to RA, Jost has said: “We owe respect and protection to those who have paved the way for what the underground techno scene is today, which is to a large extent due to a community of queer and trans people of colour.
“I believe in trans-inclusive intersectional feminism and that the underground music scene must continue to be a safe space for queer, trans and gender non-conforming people.”
The Labyrinth festival is still set to take place on 7 October at the Hodaigi Campground in the landlocked, mountainous region of the Gunma prefecture on Japan’s Honshu Island, despite these cancellations.
The finalised lineup is yet to be announced. If you’re attending, look out for updates via mindgames.jp.
The post Artists back out of Japanese festival, The Labyrinth, following founder’s comments on trans issues appeared first on MusicTech.

Streaming’s problems will not be fixed by royalties aloneUMG and Deezer’s artist-centric royalty proposal got the amount of attention both parties probably wanted, if not necessarily the type of attention they were after. However, the intent was to kick start an industry debate, and that objective was clearly achieved. Yet, while the discussion has understandably focused on royalties (as, after all, it is a royalty system), these are more symptom than cause. Streaming royalties are not adding up because streaming is not adding up. Fixing royalties is only part of the solution.

In the early days of streaming, DSPs provided platforms for listening to music. Over time they have become places for consuming audio. As streaming mainstreamed, its role as successor to retail became subsumed by its role as music radio’s replacement. Passive playlists, lean-back listening, functional music and ‘noise’ are a series of inevitable second-order consequences, as streaming chases the needs of consumers, following the behavioural data. All in stark contrast to when radio programmers and digital store managers chose what consumers got. In those days, it was a case of the public wants what the public gets, now the public gets what the public wants. The problem is that what the public wants creates a system that neither creators nor rightsholders want. Consumers have, at least in part, chosen this path.

Perhaps, as Steve Jobs was fond of saying, “it’s not the customer’s job to know what they want” or as Henry Ford (may or may not have) said “if I had asked my customers what they wanted they would have said a faster horse”. But whether you believe consumer choice should shape product strategy or not, consumer-led innovation is the defining characteristic of today’s digital world. This means that any innovation that looks to push against prevailing behaviour risks can alienate the very customer base that the system depends upon. So how do we square the proverbial circle?

Solutions must understand the audience’s needs

Many years ago, my former employer, Forrester Research, devised the fantastic POST framework for defining product strategy:

People: First, understand your customers and their needs

Objectives: Next, identify what you want to achieveStrategy: Then, shape your strategy

Technology: Finally, decide what technology fits the bill

Too often, this framework is done in reverse. Just think of the endless succession of ‘new tech’ start-ups that try to superimpose ill-fitting use cases onto their products. Technology desperately searching for a use case is one of the main reasons new tech, like the metaverse, VR and NFTs, follow the boom-bust-rebuild arc of the hype cycle. The risk with trying to superimpose new royalty structures on today’s streaming world (whether that be user centric, fan centric, artist centric, or whatever else) is that they look to solve supply-side needs (i.e., those of creators and rightsholders) first and demand-side (i.e., consumer) issues either last or not at all. Art may fuel the streaming machine, but consumers drive it (even if that means they benefit from self-driving much of the time).

At its heart, the streaming economy is shaped by diverse and often competing needs. Any successful system with diverse stakeholder needs operates by striking a pragmatic balance of meeting those needs. But a truly good compromise means that neither party is truly happy. This is the challenge that streaming faces today.

A brutal assessment of streaming would be that no one is happy. Every stakeholder, except perhaps, the consumer, has beef with how streaming operates. All of which means that any fixes (at least those that will succeed) will need to deliver some form of benefit to all stakeholders, big and small. And that means tackling the underlying behavioural dynamics of streaming, from which today’s royalty issues come.

Streaming has two main problems

A common refrain is that there is simply too much music. But the issue is dealing with quantity, rather than quantity itself being the problem. No one complains that there are too many search results on Google. The reasons quantity is seen as streaming’s problem are twofold:

With so many releases, it is hard to cut through

In a zero sum royalty system, more (content) means less (royalties) per stakeholder

Factors like ‘noise’, functional music, and generative AI are not problems in themselves, they are problems because they accentuate both of these issues.

Introducing the algorithm multiplier

Adopting a two-tier royalty system will not solve either problem in itself. The long tail will still be there. Listening will still be fragmented. Royalties are a supply-side issue, not a demand-side one. And it is the demand side that is causing the ‘problem’ by spending time listening to an ever more diverse volume of music. If you want to change behaviour, you need to pull the behaviour levers, not the remuneration levers. One way this could be done is by implementing an algorithm multiplier that applies a higher weight to successful artists. Thus ensuring success breeds success. But (and this part is crucial), this algorithm multiplier should be geared for all tiers of success. So, just as a superstar artist’s hit would get amplified, so would a

TikTok and Billboard launch official TikTok Top 50 ChartWho said the charts are dead? TikTok and Billboard are teaming up to launch an official TikTok Billboard Top 50 Chart, tracking the most popular songs on the platform.

READ MORE: Talks from Spotify, TikTok and YouTube will feature in ADE’s Essential Insider Knowledge Series

The chart will measure the hottest songs on TikTok each week, based on views, engagement, and the number of videos made with the song. To check out the chart, you can either visit the TikTok app or the Billboard website. However, it will only measure songs trending in the US.
At present, Sexyy Red’s SkeeYee tops the charts, and it’s followed by Doja Cat‘s Paint the Town Red and Taylor Swift‘s August. Other artists in the top ten include Ice Spice, NLE Choppa, and Charlie Wilson.
Ole Obermann, global head of Music Business Development at TikTok, said in a statement, “The chart gives a clear picture of the music that is being listened to on TikTok, and consequently starting to trend on DSPs and other services”.
The new chart highlights the huge impact that the app has had on the music industry in recent years, boosting both classic songs by artists like Kate Bush and helping new artists like Lil Nas X to build their careers.
And this summer, the platform launched its own music streaming service, TikTok Music. It arrived in Brazil and Indonesia first, as a premium-only service that integrates with existing TikTok accounts and allows users to listen, download, and share songs they’ve found on TikTok. Users can also build collaborative playlists, while there’s a Shazam-esque feature where you can find songs by playing a small sample of audio.
It then expanded into Australia, Mexico, and Singapore. There’s still no news as to when it might arrive in the UK or US, but with the launch of the new chart, perhaps it’ll arrive in the US sooner rather than later?
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RELEASE DETAILS
Release title:
moshpit
Main artist name:
Cassie Bryant
Release date:
22nd Sep, 2023
https://publme.lnk.to/moshpit
#newmusic #Release #Music #indepedent #artist #pop #alternative

RELEASE DETAILS
Release title:
2 AM
Main artist name:
Bluewave
Release date:
5th Apr, 2023
https://publme.lnk.to/2AM
#newmusic #Release #Music #indepedent #artist #indie #alternative

SoundBetter launches Butterfly Effect reverb plugin to add “ambient” sound beds to sparse compositions Music production marketplace SoundBetter has launched a new reverb plugin, the Butterfly Effect, which adds ethereal and shimmery sounds to lone instruments and sparse compositions.
The plugin reacts to what is being played, and evolves “sound beds” that work with the notes and chords, to build up a more ambient atmosphere.

READ MORE: Baby Audio Transit breathes life into your transitions, courtesy of Andrew Huang

SoundBetter states that the plugin is made with indie artists, ambient producers, pianists, guitar players, and composers in mind, but it’s suitable for just about anyone looking to add improved atmosphere, mood and vibrancy to their tracks.
The brand also says that Butterfly Effect “makes you want to keep playing” by adding enticing overtones and cinematic sweeps to synth pads and strings, or crystal shimmer soundscapes to keyboards and clean guitars.
Features of the Butterfly Effect include:

Three high-quality ambient reverb engines
Reverse grains
Shimmer and crystals
Infinite Blur and Space
Unique, musical slow Blur buildup
Time-synced and midi-controlled slow-motion sweeps
Playable overtones in the key of the track
Built in ducking to clear room in the mix, and time-synced external sidechain for pumping effects
8-bit distortion and saturation
Tape wow, flutter and modulation
Width control for expansive spaces or distant directional tails

Hear it in action in the video below:

It’s also being dubbed as “designed to be felt more than heard,” and according to the SoundBetter website, producer Rik Simpson (Coldplay, Jon Hopkins, Portishead) has called the plugin “a thing of beauty.”
Last week, we rounded up some of the best plugins that had launched over the previous seven days in this handy guide.
The Butterfly Effect plugin currently has a time-limited introductory price of $74, which will eventually rise to $149. It works with all major DAWs that support 64-bit VST3, AAX, or AU.
Find out more via SoundBetter.
The post SoundBetter launches Butterfly Effect reverb plugin to add “ambient” sound beds to sparse compositions  appeared first on MusicTech.

Chris Lake: “If you’re trying to sound like everyone else, how are you going to stand out?”Chris Lake is back in London. How do we know? The hotel we’re meeting in is called The Londoner – a lavish five-star thing smack bang in Leicester Square. We wait in the bar before Lake – a towering figure reaching above six-foot-five – arrives, orders a Caesar salad, says hello and shakes hands.

READ MORE: “You don’t need the fanciest equipment to start”: Miso Extra embraces limitations

It’s easy to forget the impact this humble, Norfolk-raised star has had on modern dance music. Since moving to the US around 2010, he’s not only blown up as an artist, but has contributed to re-defining house music in the States, helping to elevate the genre with a bumping, characterful, techno edge.
Chris Lake
US vs. UK sounds
“The US is in a time of transition,” he says. “I’ve been in America now for 12 years and I’ve witnessed – and maybe played a very small part of – the scene growing up.
“Europeans have been very, very lucky to have a scene that’s continually grown and evolved since the 80s. America was a bit different and ironically it started there. But it kind of died there as well for the most part.”
According to Lake, since the US’s EDM boom in the early 2010s, “the fashion, the promoters, the way people talk – it’s all changed.
“Over the last six years, the music that I play has been working more and more and more. It’s fantastic to be a part of.”
His Coachella 2023 DJ set – a huge B2B with Fisher – was a marker for this evolution. The show was a long time coming, with a lot of effort to make sure the sound and visuals were on point. The vast crowd’s reaction “validated the effort”, he says. It was a moment to reflect on where dance music has been and where it’s headed.

Still, you could say, in its early phase, the dance music scene in the US is yet to shake its bolder, more in-your-face feel – “It’s more… ‘up’”, as Lake tries to explain. That’s not to demean this elevated dance sound in any way. Lake is part of a select group – KH, Green Velvet, Chris Lorenzo, Dom Dolla – finding seriousness within the more abrasive, boisterous take on house music, reining it in and perfecting it for the masses.
“America likes things big. You don’t have to be too ashamed or too fearful of theatrics within the music.
“The way people dance to music in America is fun,” Chris says, deep in thought. “When they get down, they really get down. It’s rewarding to play to those crowds. There’s an understanding of rhythm that’s different, but in Europe, the understanding of vibe is more acute.
“But is it different? Fuck yeah.”
Chris Lake at Coachella 2023. Image: Andrew Jorgensen
Lake’s signature style
So, how exactly is this rich Chris Lake sound made? Well, as heard on his brand new release, More Baby, it’s about filling the space between the drums with wild machine bleeps, pauses and jutting sound effects, while tying it all up in a neat little bow through carefully created build-ups and drops. Oh, and a lack of “masculinity”, the LA-based producer tells us.

“It can be really difficult to put those sounds in and not make the track feel ‘bro-y’ or ‘masculine’.” he explains, referring to the ecosystem of sounds on the track. “Sometimes it could be snippets from an old acapella – it could be anything! It’s more a case of once I find the right tone and the right way to use it, I try to focus on how [the sound] fits into the record. I want it to be jarring, but not too jarring.”
Another signature style in Chris Lake’s work is his delicious basslines – bulky yet pristine and clean, as you can hear in More Baby. Lake keenly notes the cruciality of the relationship between the bassline and the kickdrum saying “80 per cent” of dance music relies on the two parts neatly co-existing.
“[The bassline] is the first thing that comes to my head. I make a sound and the riff comes to me immediately. I just feel it.
Chris Lake in the studio
“Sometimes,” he continues, “the majority of the work goes into getting the kick/bass relationship. Steve Angello said this years ago:, ‘If you can get the kick and bass right on the track, you’ve done 80 per cent of the work’.”
With a busy touring schedule, Lake’s always on the move. Therefore, a portable setup, made up mostly of plugins, makes sense. He pulls out his MacBook, trying to recall which plugins he has been making use of recently.
On the vocals for his track In The Yuma, for example, he says how he used Echo Boy, a plugin from his favourite brand Soundtoys’, to provide a tight delay. He also loves using Native Instruments’ plugins, he says, as well as products by Waves Audio.

“I put a Soundtoys Decapitator on, a couple of Echoboys – one that creates a chorus effect and then an adaption of the master tape preset, then some Valhalla reverb and another slap echo.”
Sticking on vocals, we put Chris on the spot once more, asking which vocalist he’d love to work with. There’s one simple answer: “La Roux”.
Standing out from the crowd
As Chris’ salad is placed between us, we take a sip of water and notice that it’s a tasty tipple. To Chris, the luxury perks of high-end hotels have become familiar. You can’t not, besides being an experienced talented producer and DJ, of course, ask Chris what he’s done to reap so much success.
Chris Lake at Coachella 2023. Image: Andrew Jorgensen
“You have to identify what makes you different and unique from other people.” He advises. “And embrace it and improve it to make you stand out from the crowd in a good way.
“That’s the best way to get noticed and make something happen. Because if you’re trying to blend in and sound like everyone else, how are you going to stand out?”
Chris Lake has spent the last 12 years nurturing a sound that’s big, bold and unafraid of theatrics. Full of sass and entertaining flare, it’s certainly found its home in the US’s evolving dance scene. He’s in cruise control, but there are a few more gears to go up to before we see the final form of Chris Lake.
Check out when Chris Lake is playing near you via chris-lake.com.
The post Chris Lake: “If you’re trying to sound like everyone else, how are you going to stand out?” appeared first on MusicTech.