A Compass That Looks to the StarsAlthough a lot of tools have been digitized and consolidated into our smartphones, from cameras, music players, calendars, alarm clocks, flashlights, and of course phones, perhaps none are as useful as the GPS and navigational capabilities. The major weakness here, though, is that this is a single point of failure. If there’s no cell service, if the battery dies, or you find yourself flying a bomber during World War II then you’re going to need another way to navigate, possibly using something like this Astro Compass.
The compass, as its name implies, also doesn’t rely on using the Earth’s magnetic field since that would have been difficult or impossible inside of an airplane. Instead, it can use various celestial bodies to get a heading. But it’s not quite as simple as pointing it at a star and heading off into the wild blue yonder. First you’ll need to know the current time and date and look those up in a companion chart. The chart lists the global hour angle and the declination for a number of celestial bodies which can be put into the compass. From there the latitude is set and the local hour angle is calculated and set, and then the compass is rotated until the object is sighted. After all of that effort, a compass heading will be shown.
For all its complexity, a tool like this can be indispensable in situations where modern technology fails. While it does rely on precise tabulated astrometric data to be on hand, as long as that’s available it’s almost failsafe, especially compared to a modern smartphone. Of course, you’ll also need a fairly accurate way of timekeeping which can be difficult in some situations.

4 observations on… Downtown’s agreed $775 million sale to Universal Music Group/Virgin Music GroupIt's one of the year's biggest deals – and it's come right at the final whistle of the year. We dig deeper into the details.
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Why NASA Only Needs Pi To So Many Decimal PlacesIf you’re new to the world of circular math, you might be content with referring to pi as 3.14. If you’re getting a little more busy with geometry, science, or engineering, you might have tacked on a few extra decimal places in your usual calculations. But what about the big dogs? How many decimal places do NASA use?
NASA doesn’t need this many digits. It’s likely you don’t either. Image credits: NASA/JPL-Caltech
Thankfully, the US space agency has been kind enough to answer that question. For the highest precision calculations, which are used for interplanetary navigation, NASA uses 3.141592653589793 — that’s fifteen decimal places.
The reason why is quite simple, going into any greater precision is unnecessary. The article demonstrates this by calculating the circumference of a circle with a radius equal to the distance between Earth and our most distant spacecraft, Voyager 1. Using the formula C=2pir with fifteen decimal places of pi, you’d only be off on the true circumference of the circle by a centimeter or so. On solar scales, there’s no need to go further.
Ultimately, though, you can calculate pi to a much greater precision. We’ve seen it done to 10 trillion digits, an effort which flirts with the latest Marvel movies for the title of pure irrelevance. If you’ve done it better or faster, don’t hesitate to let us know!

Discover an exclusive documentary on Tape J-37Arturia just unveiled Tape J-37: a detailed recreation of the iconic Studer J37 tape recorder. Perfect for subtle tape coloration or rich harmonic distortion, Tape J-37 brings tube-driven depth and character to any mix with unmatched accuracy.Discover the story behind this legendary machine, featuring artists Howie B, Craig Bauer, Steve Baughman, Poussin Kechit, and Clément Bastiat.Explore the world of legendary sound with Howie B, Craig Bauer, Steve Baughman, Poussin Kechit, and Clément Bastiat in our feature documentary.They share personal insights into the rich history and iconic sound of the Studer J37, revealing how the Tape J-37 faithfully brings this legendary tape recorder to life with stunning detail and cutting-edge neural-based modeling.

The post Discover an exclusive documentary on Tape J-37 first appeared on Music Connection Magazine.

UK government considering allowing tech companies to train AI on copyrighted contentThe UK government is considering whether tech companies should be allowed to train AI on copyrighted content. Campaigners keen to protect creatives’ and artists’ rights have expressed their opposition.
TechUK welcomed the discussion, proposing that tech firms should be exempt from copyright laws when training AI. If accepted, the proposal will allow Google, OpenAI and more to bypass current copyright laws. However, creatives will supposedly be allowed to “reserve their rights” and “opt-out” of AI training.

READ MORE: “Human-created works must be respected”: 50 major music tech brands sign Principles for Music Creation with AI

MP Chris Bryant insists it will be a “win win” for both creatives and tech firms. “This is about giving greater control in a difficult and complex set of circumstances to creators and rights holders,” Bryant tells The Guardian. “We intend it to lead to more licensing of content, which is potentially a new revenue stream for creators.”
Despite Bryant’s positive outlook, the nature of AI training is already murky. Back in January, OpenAI told The Telegraph that it ‘complies’ with copyright laws – but it noted that “legally, copyright law does not forbid training.”
Furthermore, when the BBC blocked ChatGPT from using its content for training, OpenAI said that it would be “impossible to train today’s leading AI models without using copyrighted materials.”
“Limiting training data to public domain books and drawings created more than a century ago might yield an interesting experiment,” the company explained in The Telegraph. “But it would not provide AI systems that meet the needs of today’s citizens.”
Creatives’ rights campaigner Beeban Kidron says she is “very disappointed” with the proposal. “The government is consulting on giving away the creativity and livelihoods of the UK creative sector,” she adds.
The news comes as British composer Ed Newton-Rex’s anti-AI statement has garnered over 37,000 signatures. Backed by Radiohead singer Thom Yorke, Kate Bush, The Smith’s Robert Smith and more, the Statement On AI Training asserts that “the unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted.”
Paul McCartney also spoke out against AI just last week. The Beatles legend labelled the “mass copyright theft” of companies as a “very sad thing indeed.”
“We[’ve] got to be careful about it because it could just take over,” he reflects [as reported by The Guardian]. “We don’t want that to happen, particularly for the young composers and writers… If AI wipes that out, that would be a very sad thing indeed.”
The post UK government considering allowing tech companies to train AI on copyrighted content appeared first on MusicTech.

Behringer’s channels the classic LinnDrum drum machine with the new LM drumBehringer‘s got a new drum machine on the market, the LM Drum – and it channels the classic LinnDrum drum machine.

READ MORE: “No other company delivers as many innovative and affordable products as we do”: Behringer hits back at “vapourware” critics following NAMM 2025 announcement

While it is designed with a nostalgic feel in mind, it’s not strictly a replica of the instruments of four decades ago. Instead, it’s designed to deliver vintage sounds with modern sensibilities.
The LM Drum features an authentic 8/12-bit sampling sound engine that is preset with 100 80s drum sounds. Users can even record and store their own samples using the integrated line input.

It also boasts analog circuitry, including original 3320 VCF and 2164 VCA, 16-voice architecture and independent level and pan controls for each voice.
Furthermore, LM DRUM features a 64-step drum sequencer that supports poly-meter, step-repeat, note-repeat, real-time triggering, track-mute and track-solo. You can create intricate patterns and grooves with the 16 velocity-sensitive drum pads and there’s also an encoder to edit parameters such as Tempo, Swing, Probability, Flam and Random. You can also record, edit and playback the analog filter cutoff via automation for a greater sense of movement and expression.
It’s also designed to work well in a studio. It has 16 independent analog outputs for external processing or recording rhythms as multi-track audio. Meanwhile, there’s an integrated FX bus that features Wave Designer and dual-mode Analog Filter with per voice assignment, allowing for more sonic options and creative control.
Up to 8 songs and 128 patterns can be stored on LM DRUM and can be imported/exported during playback. The Pattern Mode and Song Mode can be used to arrange your patterns into full songs and link your songs together for live sets and expanded compositions. Elsewhere, the unique Auto Scroll feature enables improvisation in all modes, so drums can be tweaked at will.
The LinnDrum – on which the LM Drum is based – was produced between 1982 and 1985, and featured 12-voice polyphony, storage for 56 user patterns, 42 preset drum patterns and more.
The LM Drum isn’t the only ’80s-esque piece of kit Behringer has launched lately. Last week, it unveiled a Wave Synthesizer, a clone of the iconic PPG Wave hybrid synthesizer from the 1980s. It had been in development for four years.
The post Behringer’s channels the classic LinnDrum drum machine with the new LM drum appeared first on MusicTech.

Win the chance to collaborate with legendary house music vocalist Robert OwensAI vocal platform Voice-Swap has partnered with Beatport’s LabelRadar to host a competition, in which the winner will get to collaborate with legendary house music vocalist Robert Owens, and receive an official release on his label, Musical Directions.
Entrants are invited to create an original track using Owens’ AI voice model included in Voice-Swap, and submit their creations to LabelRadar.

READ MORE: DJ Fresh doesn’t want AI to fall in the wrong hands — so he started Voice-Swap

Owens himself will then pick a winner, and then re-sing his AI-generated vocals in the studio for real and release the track as a collaboration through Musical Directions.

To access Robert Owens’ Voice-Swap voice model, producers must register an account at Voice-Swap, download the free Voice-Swap VST plugin, and then fill out this Google Form to be gifted 75 free Voice-Swap credits. After that, once you’ve got Owens’ voice model loaded up, you can get creating.
Entries must be submitted to LabelRadar’s contest page by Monday, 20 January, 2025. 
As well as an actual collaboration with Robert Owens, the winner will receive a year’s subscription to Voice-Swap’s Ultimate tier, 75 LabelRadar credits, a Loopcloud Studio annual membership, and Lifeline Expanse Lite and Console Lite plugins via Plugin Boutique.
In addition, two runners up will receive a year’s subscription to Voice-Swap’s Pro tier, 50 LabelRadar credits, and one Loopcloud Artist annual membership. 
Robert Owens is a highly decorated dance music singer, and has worked with the likes of Frankie Knuckles, Larry Heard and David Guetta, to name a few. He is one of many singers who have a vocal model on Voice-Swap, with others including Farley Jackmaster Funk, Liam Bailey and Dominique Young.
For more information on how to enter, head to Voice-Swap.
The post Win the chance to collaborate with legendary house music vocalist Robert Owens appeared first on MusicTech.

SoundCloud Artist subscriptions get much more affordableMoney is almost always tight for most musicians, and SoundCloud has launched an affordable yet robust Artist subscription tier that acknowledges that.
The post SoundCloud Artist subscriptions get much more affordable appeared first on Hypebot.

The Elektron Digitakt was the best-selling piece of electronic gear on Reverb in 2024Reverb has published its annual round-up of best-selling gear – and a certain Swedish synth brand has been dethroned.
After five strong years at the top of Reverb’s Best-Selling Electronic Gear list, Teenage Engineering’s OP-1 is no longer Reverb’s best-selling piece of electronic gear. And the renowned synth and workstation has taken quite a tumble down in favour this year, dropping from #1 four places to a still-respectable fifth place.

READ MORE: This beatmaker is going viral for proving that music production has no age restrictions

Rather than another synth taking the OP-1’s place, Elektron’s drum machine and sampler, the Elektron Digitakt, stole the crown.
The Elektron Digitakt’s success could be due to the release of the Elektron Digitakt II earlier this year – a marvellous upgrade on the original that MusicTech awarded 9/10. The Digitone II synthesiser also hit the market, so Elektron has arguably been one of the hottest brands of 2024.

The Ableton Push 2 Controller secured the #2 spot, with Roland’s SP-404MkII creative sampler and effector coming in at #3.
Reverb has also shared its annual list of best-selling brands. Roland secured the top spot, with Korg being awarded silver for its #2 spot. Yamaha scores a respectable bronze at #3.
The company also revealed the best selling eurorack modules, with Make Noise Maths module selling the most units this year. ALM/Busy Circuits’ ALM017 Pamela’s New Workout master clock and modulator was the second best selling module, and Make Noise placed yet again at #3 with its 0-Coast.
Here’s the full top 10 list of the overall best-selling synths & electronic gear to have been sold on Reverb in 2023:

Teenage Engineering OP-1
Elektron Digitakt
Ableton Push 2
Roland SP-404 MKII
Korg Drumlogue
Teenage Engineering OP-1
Teenage Engineering EP-133 K.O. II
Arturia MicroFreak
Arturia Keystep
Elektron Digitone

To see a full breakdown of the most purchased used and new products on Reverb in 2024, head to Reverb.
The post The Elektron Digitakt was the best-selling piece of electronic gear on Reverb in 2024 appeared first on MusicTech.

Stop the TICKET Act before it’s too late: FixTheTix Call To Action!There is new movement in Congress to pass devastating ticket legislation as part of a year-end Continuing Resolution (CR) and the FixTheTix coalition has issued an urgent call to action to stop the Ticket Act before its too late.
The post Stop the TICKET Act before it’s too late: FixTheTix Call To Action! appeared first on Hypebot.

Win $1,000, a high-profile cypher placement, and a trip to Paris via our beat battle with SNIPES Soundbooth
We're partnering with SNIPES to find the soundtrack for the next 'Exchange' cypher.

Members Media review: Brian Hazard tests the music marketing platformMusic promo expert, Brian Hazard (aka the Ralph Nader of musician services) does the testing and shares a music marketing platform Members Media review.
The post Members Media review: Brian Hazard tests the music marketing platform appeared first on Hypebot.

Why Komplete 15 is Native Instruments’ most creative sound library everAd feature with Native Instruments
There are no small updates to Native Instruments‘ Komplete. Each new iteration of the essential music production library brings ever more breadth and depth to an already sprawling collection. With the release of Komplete 15, however, you might have noticed a certain theme.
Rapid-fire ideation and in-depth sound sculpting now hold centre court. There are new additions for busy composers with the Session series and Action orchestral instruments getting new members, there’s innovative looping and songwriting tools for producers, but there are also some daring oddities like Conflux that exponentially widen Komplete’s scope for sound designers.
All of these goodies slot into a new version of Kontakt that’s been refreshed with a streamlined UI and a suite of powerful features for music-making.
“At its core, Kontakt is three things,” says Tim Adnitt, Native Instrument’s VP of products and sound design. “It’s an instrument player, a sampler and an instrument-building platform. For Kontakt 8, we wanted to zone in on what creativity means in the context of each of these.”
Image: Native Instruments
What does ‘zoning in on creativity’ look like in practice? Really, it’s all about kickstarting the music-making process and keeping up the momentum till you play that final note. One way it achieves this is through some nifty tricks with MIDI.
‘Tools’ takes incoming MIDI notes and transforms them to generate musical ideas. There are currently two flavours to choose from: Chords and Phrases. As the name implies, Chords comes with over 130 ready-to-go harmonic progressions – each sequence features seven chords and these are played by pressing a single root note on your keyboard. If you’re unhappy with a chord then a single click can generate a new one, or you can manually play in your own version to quickly customise sequences.
TRY IT: Get 50% off full versions of Komplete 15 Standard, Ultimate, and Collectors’ Edition or 20% on upgrades from previous versions
‘Phrases’ applies a similar concept to melody generation. There are almost two hundred melodic lines to spark ideas, and with the ability to assign each pattern a custom starting point, to invert notes for different voicings, and to drag sequences out as MIDI regions for further manipulation, there’s a lot of nuance in how Phrases can be used.
Image: Native Instruments
“Awesome!” is how producer and songwriter Khris Riddick-Tynes describes the new Kontakt features. Despite winning a Grammy and working with some of the biggest names in music, Riddick-Tynes, like many successful artists, has no formal training in music theory. This makes Tools even more relevant to his process. “I came up in the ‘learn by ear’ camp,” he says. “So, having a plethora of chords and phrases at my fingertips that feel authentic speeds my workflow up like crazy.”
This is no accident. As Native Instrument’s senior product manager, Ilay Bal Arslan, points out, Tools is purpose built to be accessible across a wide range of skill levels.
“If you’re just starting out, they’re a great way to explore chord progressions and experiment with melodies, helping you discover new ideas and learn as you go. For seasoned pros, the Tools offer deep customization, letting you fine-tune harmonic ideas and customize phrases to match your vision.”
Probably the best place to see all this in action is on the new Alicia’s Electric Keys instrument, which samples the artist’s original CP-70 electric piano in exquisite detail.

“Alicia Keys is one of the most iconic artists of our time,” remarks Arslan. “The rich and distinct sound of the CP-70 has been one of the cornerstones of her music, both in the studio and in live performances.” Working alongside the artist and multiple Grammy-winning engineer, Ann Mincielli, Arslan says the process of bringing this instrument to the Komplete library was “an incredibly inspiring experience.”
Crucially, Tools works across all 1,500+ Kontakt Player instruments that make up Komplete 15, and combining the ideas they generate with the preset patterns found in other instruments, such as the Session series, makes building up a full arrangement fast and frictionless.
These two initial offerings, Chords and Phrases, offer foundational ways to transform MIDI performances, but Adnitt also makes clear that this is just the start. “Now that Tools exist as an object in Kontakt, the possibilities are endless,” he enthuses. “The Tools SDK means that builders can dream up their own completely unique idea-generation Tools to sit alongside Chords and Phrases.”
When it comes to the new sample-based features, we have Leap. Drawing on Kontakt’s origins as a creative sampler, Leap takes that legacy and updates it for modern music creation. “We wanted to reimagine the Kontakt sampling experience,” states Eric Müller, who spearheaded the new feature as Leap’s Lead Product Designer. “Kontakt’s flexibility is one of its greatest strengths, but, let’s be honest, it can sometimes feel overwhelming when you just want to quickly experiment with loops or manipulate samples without diving into the depths of instrument building. With Leap, we set out to simplify this process by creating a focused environment tailored specifically for sampling and loop-based workflows.”
Each ‘Leap Kit’ is made up of tempo-synced loops and one-shot samples that can be triggered using the white keys of your keyboard. You can dynamically modify these samples as you play, with stutter effects, pitch shifts, reverse and speed controls all mapped to the black keys. This allows for intuitive, on-the-fly songwriting that feels more like a jam than hard work.

There are 12 ready made kits that come with the new Komplete 15, but users can also bring their own audio to the party. “Leap acts as a playground for all sample content,” says Müller. “Whether it’s from Maschine Expansions, Kontakt libraries, or your own personal collections. It enables users to quickly import, manipulate, and save their own sounds and kits”

If sound design or scoring for screen is your primary interest, then Komplete 15 also offers new levels of hands-on sonic sculpting. For the first time, the company has combined a sample instrument with the power of wavetable synthesis – the result is Conflux, a versatile hybrid that excels at evolving sci-fi textures.
“It merges the best of both worlds,” says Konstantin Hess, the company’s Associate Director of Instruments & Sounds. “The authenticity and richness of recorded samples with the flexibility and creativity of synthesis. Blending between these two sound sources opens up exciting new creative possibilities, enabling the design of unique and powerful sounds that were previously hard to achieve.”

Komplete has always been an essential resource for producers, but, for Riddick-Tynes’ money, the new version of Guitar Rig is his standout. “I’ve been on a mission to push the boundaries of guitar sounds,” he says. “What I love about Guitar Rig is its flexibility; it’s not just about traditional guitar tones. I’ve been able to create unique soundscapes by layering effects, manipulating tones, and even blending in unconventional sounds.”
On the instrumental scoring side, there’s Kithara. Nominally, this is a string instrument built on balalaika, dulcimers, mandolins and other plucked or bowed instruments – but the real magic lies in Kithara’s innovative approach to sound envelopes. Each stage — attack, sustain, release — can be assigned a different sample, and this by itself can produce amazingly rich and complex textures.
The inspiration, says Kithara’s Lead Product Designer, Francesco Sabatini, came partially from the seminal soundtrack to The Last of Us which was defined by composer Gustavo Santaolalla’s sparse and emotive guitar lines. “We always wanted Kithara to be an instrument capable of evoking deep emotional moments through the vibrancy and rich musical colours of plucked instruments. Having four different layers empowers creators to achieve unconventional results by selecting different sources for the beginning, sustain, and ending phases of a sound.”
Beyond the instrument’s four layers, there are also deeper controls available for each individual sample and granular engine that can extend the instrument into the realm of sound design.

The ability to, in Adnitt’s words, take samples and “trigger them, twist them, bend them, and ultimately make them into something that is unique” has long been core to Native Instruments vision. But he also makes clear that the company’s new emphasis on workflow and idea generation took shape communally; through regular dialogues with producers, songwriters, and composers of all different styles and career stages. “Two things come up again and again,” Adnitt recalls of those discussions. “The challenge of the blank page, and the challenge of sounding unique – especially when working with samples.”
Taken together, the new features found in Kontakt 8, and the instruments added to Komplete 15, blast past those challenges and into new territory. As Riddick-Tynes puts it: “Having access to comprehensive creative tools and instruments like Komplete 15 is incredibly important. It not only enhances my creative process but provides a wide range of sounds and capabilities that can inspire new ideas and directions in my music.”
Image: Native Instruments
The key to Komplete 15 is that it’s not only relevant to professionals like Riddick-Tynes. With new pricing tiers and innovative features like Tools and Leap, it has the lowest barrier of entry in the series’ history, and this, in turn, lets ever more people experience the joys of music-making.
“These new features can act as a bridge,” Hess comments thoughtfully. “They enable artists of all experience levels to start their creative journey. By removing barriers, we’re not just helping people make music—we’re unlocking the potential for countless untold creative voices to emerge. Great art often comes from unexpected places and perspectives, and by empowering more people to embark on their musical journey, we’re expanding the range of ideas and creativity.”
Get 50% off full versions of Komplete 15 Standard, Ultimate, and Collectors’ Edition or 20% on upgrades from previous versions
The post Why Komplete 15 is Native Instruments’ most creative sound library ever appeared first on MusicTech.

Denise Audio unveils Perfect Room 2 reverb plugin – featuring “enhanced clarity, greater fidelity and zero latency performance”Denise Audio has launched Perfect Room 2, the second edition of its reverb plugin that was released in 2019.
The plugin is the third in a series of major revamps to Denise Audio’s core plugin lineup following its acquisition by Baby Audio last October.

READ MORE: These are MusicTech’s favourite free plugins of 2024

Described as a “reinvention” of the original Perfect Room – a plugin that scored an impressive 9/10 in our review of it, Perfect Room 2 is said to improve on its predecessor with enhanced clarity, greater fidelity and zero latency performance.
“The sequel comes with expanded creative flexibility to let you dial in everything from invisible ambience to shifting sonic vistas that move with your track,” says Denise Audio.
Unlike most reverb plugins out there, there’s no need to scroll through dozens of IR files to find your sound. Instead, Perfect Room 2 lets you interact directly with the internal room simulation to create infinite variations of clean ambience.
Its Dynamic Room Response engine begins with a neutral acoustic simulation, enabling users to create ambiences without resonances, harshness and unnecessary coloration – ideal for tasks that demand transparency, detail, and fidelity to the source.
Perfect Room 2 can process up to 10 seconds of decay time; users can adjust the onset of the room response with the attack control. You can even flip the room profile entirely to hear the decay play out in reverse.
The latest version also boasts a completely revamped design, featuring a clean and intuitive user interface. Key controls like Pre-delay, Attack, Length, and Width (now with mono-compatible variation between the left and right channels in the simulated room) are easily accessible. Users can also tailor their simulated room’s frequency and decay characteristics via the Frequency and Decay Profile knobs.
In addition, Perfect Room 2’s time-based parameters can be synced to the host tempo for precise bar/beat divisions of pre-delay, attack and decay. Other notable features include mono-compatible pitch modulation and a unique Halo effect that lets you extend the decay of selected frequency ranges, providing further creative possibilities.
Perfect Room 2 is now available at an intro price of $39 (U.P $79). Existing Perfect Room owners can upgrade to the new version for $25.

Learn more at Denise Audio.
The post Denise Audio unveils Perfect Room 2 reverb plugin – featuring “enhanced clarity, greater fidelity and zero latency performance” appeared first on MusicTech.

“The dance floor is like an organism”: Fatboy Slim drops new DJing tips to get your holiday party startedLooking to curate the perfect party playlist for the upcoming holidays? Well, grab your headphones and prepare to channel your inner DJ because we’ve got some sage advice from British producer and DJ Norman Cook AKA Fatboy Slim – the man who knows a thing or two about getting a crowd moving.

READ MORE: Drill producer EMRLD BEATS under fire for hating on boom-bap: “If you sampling a soul record, get that bullshit outta here” 

A true master of the dance floor, Cook tells The Guardian that it’s not so much about getting people dancing as much as it is about “unifying people”.
If you’re stepping behind the decks instead of letting a playlist run on autopilot, Cook advises starting by “narrow[ing] it down to 60 or 70 tunes that you think are going to be needed.” And if the dancefloor starts losing steam? “Just play something well known” to reignite the vibe.
“For me, if I really had to rescue a dance floor I’d play Right Here, Right Now or Praise You. They would be my get-out-of-jail records,” says the DJ.
“The dance floor is like an organism, and when it’s all working together, it’s lovely, but sometimes you lose the dancefloor,” he adds. “There’s sort of different pockets of people and they’re not really united. Or some people are dancing, some people aren’t, and it’s that feeling of bonding everybody together that you need to do, and recognition of a song that everybody likes is kind of that thing.”
Cook also says that unlike when you’re playing at a club, “nothing is out of bounds” when it comes to house parties. In fact, “all bets are off because it’s Christmas,” though “there is a limited palette of what I would play.”
“There is a fabulous drum ’n’ bass edit of Fairytale of New York that I might end a set with. I wouldn’t play a record like that on any other day,” he admits.
Elsewhere, the producer also shares that he doesn’t create as much music anymore due to the overwhelming amount of gear options out there – which can be paralysing at times: “Give me a laptop, but it’s got every single drum machine, every single synth sound, every single – potentially – sound known to man.”
“I just sit and go, ‘pfft, where do you start?’ I need to start with, you know, ‘I’ve just borrowed a drum machine off a mate, I’ve got it for the weekend, just get what I can out of it.’”
“I think the most inspiring times are when people had very limited equipment and it was what you could squeeze out of that,” says Cook.
The post “The dance floor is like an organism”: Fatboy Slim drops new DJing tips to get your holiday party started appeared first on MusicTech.