Caravel makes devastating techno using reFX’s “flawless” Nexus4 pluginFor Exhale Records mainstay, Parisian techno producer and DJ Caravel, no BPM is safe. Delivering a nimble sound full of crushing kick drums and eerie atmospheres, the aim of her music is to keep the darkest dancefloors moving.

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Caravel has notable releases on labels like HEKATE, OBSCUUR Records, and contributions to Amelie Lens’ EXHALE compilations. She’s also a resident at Synoid, a nightclub in Berlin, as well as a regular face on HÖR. Her most recent venture, however, is a release on Scottish label, Terminal V. The track, called Phoenix, is a devastating, towering wave of hard, ferocious techno.
We speak to Caravel, who tells MusicTech about some of the plugins she swears by when making music.

Are you working on any new music at the moment, or are you focusing more on touring? How does one inspire the other?
I’m always working on new music. Every time I come home after a gig, my brain is full of inspiration. Every time I’m digging a new track for my next shows, I get inspiration. So, I’m permanently working on new tracks, but most of the time, I never finish them.
What’s your latest plugin purchase?
I bought the reFX Nexus 4 a couple of months ago. You can find thousands of different sounds, such as drums, effects, screeches, and many more. I mainly used it for my latest EP that I’ve just finished. Nexus 4 is not the cheapest plugin, but you can create any type of music with it. The sound quality is flawless, and it’s easy to manage.
Nicky Romero Kickstart 2 and reFX Nexus 4 plugins from Caravel
What’s the best free plugin you own?
Xfer Records’ OTT is really cool; it’s a multiband compressor. You can use it for upward (parallel compression) or downward (classic compression) with just two buttons. I use it to add more aggression to my synths or drums.
What’s the best value plugin you own?
I would say Kickstart 2 from Nicky Romero, an affordable plugin that I use on almost every channel. It’s a side-chain tool that makes me work much faster.
Nicky Romero Kickstart 2 and iZotope Trash 2 plugins from Caravel
What’s the most expensive plugin you’ve ever bought? Was it worth the money? Why?
It was Nexus 4. I paid €499, but that was definitely worth it.
What’s a DAW stock plugin you use all the time?
I started using FL Studio because I thought it was easier to handle, but I quickly changed to Ableton. Once you get used to the interface, Ableton is more intuitive, and the creative process is smoother.
What plugin would Queen of Darkness be incomplete without?
U-He Hive; I was using Hive a lot when I made this track.EXHALE VA003 by Caravel
The track slows down before the drop – such an interesting idea. What led you to making this decision?
If you know the TV show, you probably made the link. I was watching Stranger Things, and I was obsessed with the soundtrack. I just came up with the idea of building something with this famous arpeggio and adding a techno kick. I used automation on the BPM before and during the break to make the transition slower and more intense.
And on this breakdown and buildup to the second drop, the synth pairs so nicely with the rolling snares…
I tried to keep it as smooth as I can, using a filter and letting the bass get all the place it needed. I used the rolling snares to bring more intensity, and I decided to keep it for the second drop, so it would bring more rhythm to the track. I used Hive for the bassline and the arpeggio synth.
Do you have any secret sauce plugins?
I like to use iZotope Trash 2; it’s a really good plugin if you want to add distortion. It has different effects, and you can apply them separately. So if you like crunchy, noisy and want all kinds of possibilities to make your drums or your synth harder, this is perfect for that.
Little AlterBoy by Soundtoys plugin from Caravel
What about a guilty pleasure plugin?
I would say Little AlterBoy; you can easily pitch and put hard tune to any voices. I also use it for my drums to make them sound different.
What do you use without fully understanding?
To be honest, I don’t fully understand anything. I didn’t have any school to teach me, and I learned with tutorials and some help from friends.
Follow Caravel on Soundcloud.
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Galxe replacing 110% of funds users lost in recent front-end hack, over $400KThe platform was the victim of a phishing scam that routed users to a website that drained their wallets after they approved a transaction.

Federal judge throws out $32.5 million win for Sonos against GoogleA California judge has thrown out a $32.5 million verdict win for Sonos against Google after two of Sonos’ patents were deemed unenforceable and invalid. As a result, Google has started to re-introduce software features it had removed due to Sonos’ lawsuit. In a decision dated October 6, U.S. District Judge William Alsup said that […]

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BFD release free BFD Player BFD Player is a new, free instrument that comes loaded with a selection of high-quality drum samples as well as grooves recorded by top drummers.

Akai Professional says new APC64 pad controller is “the future of Ableton Live music production control”Akai Professional has launched the APC64, a pad controller the brand heralds as “the future of Ableton Live music production control”.

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The controller is the latest in Akai Pro’s line of APC controllers (APC stands for Ableton Performance Controller), following the APC Key 25, APC Mini and APC40.
Its control surface offers a larger and more feature-rich control surface compared to previous APC models. There are 64 vibrant RGB pads, eight assignable touch strip faders, and an internal eight-track 32-step sequencer. This expanded control surface provides users with more tactile interaction and control over Ableton Live.

The RGB pads on the APC64 are equipped with polyphonic aftertouch, allowing for expressive, nuanced playing. This feature enhances the musicality of the controller, making it suitable for a wide range of performance styles and techniques.
There is also now an expanded I/O Interface. Unlike previous APC models, the APC64 includes eight TS CV/Gate outputs, opening up possibilities for interfacing with modular gear and other external devices. It also features three MIDI jacks for seamless connection with synths, keyboards, and more.
Akai Pro APC64
Another of the most significant features of the APC64 is the inclusion of an internal eight-track, 32-step sequencer. This sequencer allows users to create patterns and control devices directly from the controller itself, without the need for a computer.
This controller continues the previous models’ theme of providing deep integration with Ableton Live, ensuring seamless control over the DAW’s functions. It features an 8×8 clip launching and note performance matrix with velocity-sensitive RGB pads, making it easy to trigger clips and scenes. COuld this, therefore, be Akai Pro’s official rival to the Ableton Push 3?
“APC was a revolutionary product that empowered Ableton Live composers and performers who needed exceptionally tactile control with an almost organic ability to respond in the moment,” says senior Akai Professional product manager, Dan Gill. “APC64 is the culmination of years of development, user feedback, and innovative drive to present the modern music maker with a tool that embraces technological advances of today while maintaining the essence of uber responsive musical workflow. Get ready to control and experience Ableton Live like never before.”
The Akai Professional APC64 is available to order at thomann.de for a price of $461/£377/€436.
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Reservoir acquires catalog of Latin Music hitmaker Rudy PerezAgreement also includes a publishing deal for his future works
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CRAS Connects With Famed L.A. Studios for StudentsConnecting with potential internship providers and full-time employers is vital prior to graduation for students in the pro audio industry. When a student’s school takes the initiative to visit with these professionals on the students’ behalf to begin, nurture, and grow those relationships, that’s when they know their choice of a top-tier educational institution goes far beyond the classroom.

And that’s just what members of the Internship Department and Student/Alumni Services Department with The Conservatory of Recording Arts & Sciences (CRAS; www.cras.edu), the leading institution for audio engineering education, recently completed with visits to 21 leading Los Angeles-based recording studios over a three-day period.

“We just visited one of the top markets for the audio industry, where a large majority of our students and alumni relocate for their careers,” explained Rachel Ludeman, CRAS Employment Coordinator. “One of our main purposes for our travels is to connect the face with the name, give CRAS an actual personality, and not just be another school bombarding them with phone calls and emails wanting to place students with them. Those we visit with always appreciate our willingness to travel to them and discuss not only what they can do for our students, but, just as importantly, what our students can do for them.”

CRAS creates genuine relationships and connections with management in order to better understand what their needs are, dissect their business model and how they operate, and what makes them unique. That way, CRAS can better create a harmonious, mutually beneficial relationship, and provide them with the best interns and employees possible.

“Working with Rachel and CRAS hasn’t just been a genuine pleasure, but it has also served as a truly valuable resource for us at Formosa Interactive,” said Nick Mortillaro,Senior Recording Engineer, Formosa Interactive Los Angeles. “We've hired numerous CRAS grads onto our voiceover team in both freelance and full-time capacities, and I’ve been nothing short of impressed with the consistently high caliber of folks that Rachel has referred to us. Not only have they shown up with the relevant knowledge and skills, but also a hunger and drive to keep learning, which is always great to see. CRAS is doing something right, that's for sure.”

Formosa Interactive is home to the world’s best creative talent, leading edge technology and workflows, and a player-first culture that creates end-to-end creative content for global developers and publishers on every screen and platform.

Kirt Hamm, CRAS administrator said that CRAS also takes note of industry trends and equipment these facilities are currently using. “CRAS is always striving to be one step ahead and want to see where the trends are, so we can better educate our students to be ready for the workflow out in the real world.”

Beyond visiting with an enormous amount of facilities in a short time span, CRAS also makes it a point to connect with its alumni during these meetings, and reconnect with its community. As a result, CRAS held a meet-up at a local LA tavern during this most recent trip, and were incredibly overwhelmed by the turnout where nearly 100 graduates attended.

“CRAS was the best decision of my entire life and it took me to places I never thought I'd be,” explained Robert Kupsch, assistant engineer at Formosa Interactive and a 2022 CRAS graduate. “I’m incredibly thankful for all of the help and support for all the staff members at CRAS. We couldn’t do it without them!”

Added Conor Lynch, CRAS Director of Student Services, “This event is always successful because it gives our graduates a chance to network with each other, reconnect with their CRAS family, and discuss what that next gig/connection may be. We actually had three graduates obtain work because of this particular get-together, and a student got their internship lined up because of a graduate they met there. This was networking at its finest!”

CRAS members on the trip are also all graduates of the program, so they understand the gear selection the studios have that CRAS interns and grads work with daily.

“I know I can speak for all of us that we truly get excited when we can see how things are put together in these facilities first hand,” said Ludeman. “I think this is also recognized by the management, and they notice that we understand and appreciate the craft on a deeper level. I'm always blown away by the affect CRAS has made in the audio industry, and this specific trip to LA was truly remarkable. With more than 30 years of educating audio engineers, our footprint is becoming immense. It has become commonplace to run into numerous CRAS graduates working in the field, wherever we go. Our alumni are proud to be CRAS and I’m thrilled to be a part of that movement.”

The Conservatory of Recording Arts & Sciences is composed of two nearby campuses in Gilbert and Tempe, Ariz. A CRAS education includes broadcast audio, live sound, film and TV audio, music, and video game audio, all taught by award-winning instructors who have all excelled in their individual fields, including sound reinforcement, audio recording and production, digital recording, troubleshooting/maintenance, and music business.

CRAS structured programs and highly qualified teaching staff provide a professional and supportive atmosphere, which is complemented by its small class sizes allowing for individual instruction and assistance for students in engineering audio recordings. CRAS has been providing quality vocational training in audio recording for more than three decades. The curriculum and equipment are constantly being updated to keep pace with the rapid advancements in the music and sound recording industries. CRAS’ course offerings and subject matter have always centered around the skills and knowledge necessary for students’ success in the audio recording industries.

The 11-month program is designed to allow every student access to learn and train in all of the Conservatory’s studios which are comprised with state-of-the-art audio recording and mixing gear, the same equipment used in today’s finest studios and remote broadcast facilities, including Pro Tools Ultimate, API Legacy consoles, SSL AWS consoles, Studer Vista consoles, and much more. All students must complete a 280-hour industry internship to graduate from the Master Recording Program II that may ultimately lead to industry employment.

For more information on the Conservatory of Recording Arts & Sciences, please visit www.cras.edu, contact Kirt Hamm, administrator, at 1-800-562-6383, or email to info@cras.edu.

Image caption: (l-r) Rachel Peller (CRAS Internship Coordinator), Eric Fleming (CRAS Internship Coordinator), Rachel Ludeman (CRAS Employment Coordinator), Robert Kupsch (assistant engineer at Formosa Interactive and a 2022 CRAS graduate), and Conor Lynch (CRAS Director of Student Services & Internship Coordinator) at Formosa Interactive during CRAS’ Internship Department’s and Student/Alumni Services Department’s recently completed visits with 21 leading Los Angeles-based recording studios.

What should the music industry learn from the world of e-Sports?On this 'cast Tim Ingham, founder of Music Business Worldwide, is joined by Maria Egan, the Global Head of Music – as well as events – at Riot Games.
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Raised fees are “shattering” Discogs’ community, sellers sayRising fees are “shattering” Discogs’ vinyl community, The Verge is reporting.
In recent years, Discogs has been huge among vinyl collectors and music fans, the platform giving them the chance to buy even the most obscure records and look up information about numerous artists and releases too.

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“Some people just buy records for the album art hanging on the wall,” says Doug Martin, who’s been selling on Discogs since 2020, in comparison to Discogs users. “These were real fans listening to real music who cared about the format and the medium. That’s what attracted me in the beginning.”
But while Discogs has been a huge part of the internet for music aficionados, many sellers are unhappy with rising fees and restrictions, and the slightly outdated feel of the site.
One seller from Connecticut tells The Verge, “I’ve made my living with this company for the past decade. It’s just the frustration that you have no control over what they’re doing, and it doesn’t even make any sense.
“They’re under the impression that they’re the only game in town. The fees were relatively low, but now that they’re higher, there doesn’t seem to be a reason to use that anymore.”Indeed, one seller based in Europe says that he does 80% of his business on Discogs, and makes around €20,000 a month on the site. However, his sales have halved over the past year, and he’s in the process of ditching the site and building his own.
Issues first began when Discogs raised its fee from 8% to 9% in May, and began charging the same fee on shipping costs too – making international transactions, often popular on the site, more difficult.
Discogs suggested that sellers use a tool it had created to raise the prices of all of their products by the same percentage, or offer free shipping. Doug Martin, another Discogs seller, says of their communication with sellers, “It’s like, ‘I said what I said, and we’re done.’ Well, you’re really not, because we all have to live with this and so do you.”

The post Raised fees are “shattering” Discogs’ community, sellers say appeared first on MusicTech.

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Warner-backed generative AI startup from co-inventor of Siri starts record labelAn AI startup co-founded by the inventor of Siri and backed by Warner has started its own record label, per Music Business Worldwide.
LifeScore Music, co-founded by Tom Gruber, launched the record label Kaleidoscope which is set to feature music that’s composed and performed by artists but then “amplified with LifeScore’s generative AI technology”.

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The team at Kaleidoscope work with sound designers and experts around the world to create what it describes as ambisonic recordings, which are interwoven with musical elements to create a “sense of time and place”.
Mary Lockwood, LifeScore’s Chief Audio Officer, asks, “What if you could take the tracks you love so much and experience them in a totally new, different way?
“Whether we’re working with an artists’ existing catalogue, or creating our own new music, the original compositions always remain at the centre of the creative process. The technology is simply there to bring in a surprise factor at the end – to create an experience that’s still uniquely that artist’s music, but coloured by something new and delightful.”
The new record label is set to release a number of albums later this year, beginning with five wellness-focused releases. Riverside Flow was made for yoga, while Skywalk is based around the rainforest, and Castles In the Sand is a beach soundscape.
Twilight Jungle is tailored for sleep, lasting eight hours, while Alpenglow evokes the image of walking through the mountains.
Kaleidoscope is also set to launch collaborations with artists, and will release new music each Friday throughout October. Last Friday (6 October), Riverside Flow was released.

According to LifeScore, the process of making music starts with raw materials sourced from some of the best studios around the world, as well as master recordings provided by artists.
The recordings are then transformed with AI, with remixes and alternate versions made, and many of the releases supporting activities such as sleep, energy, relaxation, and focus.
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Denis Porfiryev RMSC RMSC is a simple ring modulation sidechain VST3 plugin. YouTube/hvrurQpSXpQ Read More

Danny Tenaglia is auctioning off 50 years’ worth of studio and DJ gearVeteran house music producer Danny Tenaglia is auctioning his personal collection of music production, DJing gear and records amassed over the space of 50 years.

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Revealed in a post to Instagram last week, the 62-year-old Music Is The Answer producer told fans he planned to auction off the collection through the selling platform, Amplifyd, urging people to only make bids through the platform instead of messaging him directly.

Included in the auction so far is a Roland TR-909, an EMU SP-1200, a PLAYdifferently MODEL 1 6-Channel Analogue DJ mixer, a Roland Juno 106, an Oberheim DMX Midi and loads more, including a Waldorf Microwave XT synth. According to Tenaglia, a select number of his colossal record collection will added “eventually”.
In a recent Instagram post made since launching the auction, he writes, “Reading all the positive comments surrounding the equipment auction made this week very special. It was so nice to reminisce about my journey with these pieces of equipment and reaffirmed my belief that now is the right time to pass them on to new owners who will continue to appreciate them and hopefully get great use out of them creating bombs I can drop at my gigs!
“I’m very happy to see that things are running smoothly on the @amplifydhq website. And I do appreciate all of the personal messages regarding interest in some of the gear, but it’s becoming a bit overwhelming. I hope everyone can get a small piece of this collection.”

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A post shared by Danny Tenaglia DJ (@dannytenagliaofficial)

According to Tenaglia, some of his record collection will also be sold. If you’ve ever seen videos of his impressive basement, where the collection is kept, you’ll be all too aware of how huge this is. The record collection covers three walls and an additional shelf.
Tenaglia is not the only producer deciding to sell his cumbersome collection of hardware. Dive creator Tycho recently posted a ton of gear to Reverb.com, with the collection coming to $160,000 overall.
Unlike Tenaglia, Tycho’s reasons are not related to retirement. In a recent interview with MusicTech, he cited a shift to software as the reason. “I’m definitely a plugin junkie; my gear lust has switched from hardware to software,” he said. “I’ve used a lot of software in the past; it’s not like I just started using software instruments. But I force myself to… if there’s a software equivalent of a tool or an instrument, I’m going to use that instead of the hardware, no matter what.”
Are you interested in getting your hands on some of Danny Tenaglia’s gear collection? Head to amplifyd.com to put in your bid.
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