Tag Archives: Producer

[Tech Talk] Feel The Bass With SubPac’s M2

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An electric rumble that started in the base of my skull is propelled forward, pulsing into my veins as frequencies are projected throughout my entire body.  Goosebumps overwhelm every inch of my skin as an amused grin creeps across my face.  Every nuanced note and each rhythmic rumble, from the smallest synths to blossoming batches of booming bass, encased the world around me.

With my eyes closed, I become the pulse of the dance floor.  It’s only when they open again that I’m rudely reminded that I’m not marinating in the music and mayhem of Coachella’s Sahara tent, bouncing around a world class nightclub like Avalon in Hollywood or entrenched in Drum and Bass at Shambhala‘s Village; instead, I’m dancing by myself with my headphones on in the middle of my living room, gleefully rocking a high-tech vest that feels like it came right out of Tron, only it’s the the latest and greatest in high tech, wearable tactile bass systems.

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Launching just this past October, the patent pending SubPac M2 is the latest and greatest in wearable tactile bass systems, gifting users a fully immersive, auditory experience that parallels the live experience on a grand scale while silencing the world around you. Featuring plug and play controls, a Bluetooth receiver, a high capacity rechargeable battery and a slimmer control box, the M2 is made for movement, allowing the wearer to dance the way they feel – and let me tell you, you’re about to feel some kind of way.

Currently used by industry leaders and international taste makers within the music industry, SubPac has more application than music creation, audio testing and pure enjoyment.  SubPac’s technology was integrated in the Virtual Reality enhanced premiere of Jurassic World as well as the “Fractal” concept car designed by Amon Tobin.  The brand also offers a 21st century approach to hearing lost, tinnitus and deafness, finding use at this year’s Rock in Rio festival in Brazil where the SubPac’s campaign granted the hearing impaired a boost of bass. While the human ear can only hear to down to a minimum of 20hz, the body can receive the rest as vibrations through your bones, and the SubPac can make you feel frequencies as low as 5hz – dishing out layers in favorite songs that you might not have known existed otherwise.

 “We are on a mission to introduce the physical dimension of music and sound to the world.   With the SubPac M2, we have created the most immersive wearable audio experience to date. Anyone can now experience audio the way the creator intended – full immersion, anywhere, anytime.”

–  John Alexiou, SubPac CEO and co-founder

SUBPAC M2 TECH SPECS                      

  • Frequency Response: 5hz-130hz
  • Wired Input: 3.5mm stereo
  • Headphone Out: 3.5mm stereo
  • Wireless Input: Bluetooth 4.0 with A2DP Streaming
  • Charger: 15V 1.6A 24W
  • Charging cable: Intl IEC-c7
  • Rechargeable Battery: 10.8V, 2300mAh Li-ion battery // 6+ hours a charge
  • Dimensions: 17” x 12” x 1.5” // 43cm x 30cm x 4cm)
  • Weight (including battery): 4.8lbs // 2.2kg

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The Wearable M2 and Seatback S2 are available for order now from SubPac’s website here.

With their patent-pending new wave audio technology, the Los Angeles based SubPac by StudioFeed is changing the game – one low frequency at a time.

For the latest and greatest in all things SubPac, head to their site and socials –

Website | Facebook | Twitter  | YouTube

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[The Audiofiles] Paul Oakenfold to host Inaugural Electronic Music Awards & Foundation Show

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Unless you’ve been hiding under a rock (& roll), you’ve been privy to the near over-saturation of the Electronic Dance Music circuit in the last five years. The lineup for multi genre festivals like Coachella has seen a higher proportion of dance acts overflow the Sahara tent and into the Gobi Stage, Yuma Stage and even the Main Stage, while you can find Dupstep, Trance, House and Bass anywhere from run of the mill television commercials, professional sporting events, and even in a video made by the White House concerning the President’s State of the Union.

Dance music is literally everywhere, and while I certainly don’t mind, it’s an observation worth nothing; and it seems I’m not the only one. This April, the station that brought us American Idol presents the inagural Electronic Music Awards & Foundation. Airing April 23rd at 8pm, the first EMAF will be hosted by none other than Trance legend Paul Oakenfold.

“Experience the excitement of the world of electronic music as the biggest names in the industry, from across the globe, celebrate the year’s best music, artists and creative talent.”

The real question on my mind, that should really be on everyone’s at this point – with the amount of commercialism pumped into the industry in the last few years, exactly what facets of dance music will be hitting syndicated television, how much homage will the underground culture, community and artists be paid and how will underrepresented demographics like women and minorities within dance music be displayed?

For more on Paul Oakenfold or the Electronic Music Awards & Foundation Show, head to their socials –

Paul Oakenfold
Website | Facebook | Twitter | Soundcloud

EMAF
Website | Facebook | Twitter | Instagram

[Cross Published on The DJ List]

[The Audiofiles] Ipman Releases Delightfully Dark Debut LP ‘Depatterning’ on The Glitch Mob’s Glass Air Imprint

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Prepare yourself for an auditory adventure into the throws of industrial synths, brooding tech house basslines and ominous undertones as Ipman presents his debut album ‘Depatterning‘. Releasing via The Glitch Mob’s Glass Air Records imprint and Tectonic Recordings, Depatterning‘ is the fantastic culmination of two dedicated years in the studio honing his unique and experimental sound that sits delightfully between UK Garage and Future Bass.

Originally hailing from a small rural English town, Ipman – better known as Jack Gibbons – has passionately curated an album that draws equal inspiration from rave culture as it does his personal technological advancements in instrumentation. The album was hand crafted by tech savvy Gibbons, down to the very instruments used: experimenting with both modular and granular synths and rewiring the drum machine.

“I like to create music by experimenting with new ideas and mechanics and letting tracks evolve, and this was no different. I had a pretty free reign and just tried new things and looked at the results.”
Ipman Through discordant bass and dissonant tones, Ipman’s record is a delightful deviation from predictable, four to the floor club bangers. One listen to ‘Depatterning‘ and you’ll be craving a 3am moment at a Warehouse party.

‘Depatterning’ Tracklisting
1. Regicide
2. Technicolour
3. Gravity
4. IPA
5. Last One In The In The
6. Y
7. O
8. U
9. Strong Ones

Depatterning is available for purchase or for listen via streaming in a menagerie of different mediums from Ipman’s website here; choose your auditory adventure whichever way you best see fit – iTunes, Amazon, Spotify, Google Play and more!

For more on Glass Air Records, head to their website here

Get to know Ipman through his socials –
Website | Facebook | Soundcloud | Twitter

Originally Featured on The DJ List

[The Audiofiles] Sea of Dreams: Getting Live into the New Year

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Sea of Dreams Sets the Tone for the Resurgence of Live Music within EDM

Photography by Daniel Leist

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2014.  As of this moment, there’s only a separation of two calendar weeks – but it somehow it already seems a lifetime a go.  I’ve heard it’s just one of those things about aging, and understandably so: the older you get, the years become a smaller and smaller percentage of your life.  5 year old Amanda got to enjoy the year as a fifth, or 20% of her life – and here I am, inches away from 30 and last year merely accounts for 3.3% of my time on this wonderful planet.  But in that year, twelve months, 365 days, 525600 minutes – I started a miniature business, delved into my DIY capabilities, moved in with the only man I ever want to live with.  Hand in hand, we’ve made friends across the West Coast while simultaneously passionate pursuit of perfecting our crafts while diving headfirst into the electronic music scene.  I’ve been humbled to work alongside some of the best and brightest minds in the industry, and am living out a my adulthood’s childhood fantasy. After seven years of living in Los Angeles, I was finally booked for a paid modeling shot; my lost dream and the reason I swapped zipcodes as a young college grad.

From Lighting in a Bottle to Global Dance, Shambhala to HARD Day of the Dead – I consider myself blessed to be taken in by so many different music communities and families; and then to be entrusted by the music community to share that journey, and evolve what it means to be part of it – it’s more than I could’ve ever asked for.  But, that’s not to say my year didn’t have it’s equivalent share of setbacks – after being in a car accident last Spring, I was anxious behind the wheel for months, I resigned my maid of honor status by endeding what I thought was a close friendship and I’ve been living with an obnoxious Bartholin cyst since the Summer.  Whether your year was full of accomplishments and accolades or trials and tribulations, New Years Eve marks a time when the lot of us can put on our party pants, forget our worries and party like it’s 1999 (or, 2015, whatever).

As the penultimate day of 2014 quickly approached, I was haphazardly balancing work, family and trying to pack for that my favorite blustery city in the Bay, San Francisco.  For the second year running, Danny and I were off, off and away – to the land of tech talk and Burner babble, where the Sports teams are hot and the weather is brisk, the skyscrapers tower above you while the city rumbles with animation.  Now in it’s 15th year running, Sea of Dreams was plotting a triumphant return to the Bill Graham Civic Auditorium after last year’s immense success.  In an incredibly welcomed yet unprecedented move – they booked a two night stand for the event. The brainchild of Joegh Bullock, founder of Anon Events,  Sea of Dreams was celebrating a decade and a half of decadence, dancing and deliriously wonderful vibes in San Francisco with support and assistance from Another Planet Entertainment and Sunset SF.

We crushed the 5 on Tuesday morning, leaving as early as possible so we could muster in a nap before the first night of the show.   It’d been forever since I’d had a healthy dose of Pretty Lights, and now –  I’d be seeing him twice in two nights. Christmas might’ve come early for some, but it came late for me and I was in no way complaining.

The first night of Sea of Dreams was as laid back as we were feeling, with only one active stage an intimate crowd and only a handful of artists, but they were all bursting at the seams with talent.  For this night only, dancers, festies and music lovers of all kind brought out the flow toys and hoops as they grooved to the salacious sounds of Sea of Dreams.  The early bird caught the worm at 7pm when Pumpkin jumped on the decks, but for anyone that missed his opening set – he was featured in between the other sets for an equal amount of time, if not longer, than his actual set.  My only wish was that he was a little more highlighted as the crowd got down to a slew of remixes, from the tried and true MJ vocals to his soul tingling remix of Wildlight’s Twirl Me. 

For anyone who’s said that true music is dead or lost within EDM had surely never witnessed the musical genius of the rest of the lineup.  Next to grace the stage were Adam Deitch and Borahm Lee, better known to fans as NYC glitch-hop duo Break Science.  From start to finish, they expertly fused genres from Funk to Hip Hop and Breakbeats with layered, live elements.

Thanks to the Clayton Call Concert Photography for the Epic Video

Break Science ebbed into Pumpkin and then flowed into The Glitch Mob.  Living in LA since ’08, I consider myself more or less a local down south at this point – so seeing the Glitch Mobbers up in San Francisco was a nice treat.  They kicked the crowd’s energy up, flowing through tracks from Love Death Immortality and older, crowd favorites; a solid set from the Mob, but being a pre-NYE event, I was hoping it would have been more raucous than it was. But that was immediately forgotten as the stage was stripped and the equipment rearranged. Left and right, audiophiles were geeking out as the acoustic musical setup took place and made way for the last performance of the night: the man, the myth, and the lights – Pretty Lights, to be exact.  For this two night stand, Derek Smith brought the beats – and a full band, equipped with keyboardists Bor, trombonists, trumpeters, a Hammond Organ, a mixer and a drummer.  And quickly, you remember why it’s called the ‘Pretty Lights Family’ – it features Scott Flynn of John Brown’s Body, Lettuce’s Eric Bloom and both members of Break Science.  – at the very least.  And we can’t forget, Lightning Director Greg Ellis, but you might know him better as LazerShark – and does that guy ever live up to his name!

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For the next two hours, hundreds of eager ears danced their cares away until New Years Eve Day on a musical high that you can honestly only get from real instruments.  There’s something in their tonality, the depth, the layering, the colors of the notes and harmonies they create.  Nowadays within EDM, were so accustomed to a one man show – but we forget that traditionally, culturally, historically – music has been a multifaceted, artistic vehicle that encompasses the community and brings it together, in celebration; and Pretty Lights did just that.  After the show, we forgot about the blustering wind and frigid weather while reminiscing on the beauty and wonder of the PL Live Band; a perfect pre-party for the main event.

Overnight, the wind subsided and the New Years Eve excitement was palpable as the sun rays broke through the window. Puffy white clouds dotted a surprisingly bright blue sky as the last moments of 2014 dissolved in front of us. During the day, we gallivanted around Crissy Field and over the Golden Gate Bridge – dishing on our favorite moments on the night and eager to feast on the main course of music. The sun slipped into the Pacific Ocean while spirits soared simultaneously from each corner of the city.

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Strolling up to the second night of Sea of Dreams, the mood was elevated and enlightened, overflowing with ostentatious costumes and enigmatic personalities.  Tonight was the big night; hello, 2015! If the main room was the main course, the small rooms may as well have been decadent appetizers that could fill you to the brim. Off to the right side of Bill Graham, the aptly named Trapeze Room was in full swing – fully equipped with life burlesque performances from local favorites Meka La Crème, Elektra Cute, Olivia Bellafontaine, Mojo Deville, Hunny Bunnah, Iza L Vamp, Tonya Kay Jay Siren and Miss Emma Nation.  Throughout the night,  DJs from The Gentlemen Callers of LA, Jazzy Fox, The Bellhop, Delachux and The Klown  delighted party go-ers with the delectable rhythms of Electro Swing until the late hours of the morning.  If you took a few steps back, the Silent Disco was getting a quiet groove on with the likes of Matt Haze, Analog Disco, DJ Phleck and DJ Mancub – just to name a few.  On the flip side, there were some Funky Deep House and Disco vibes being tossed around jubilantly in Larkin Hall.  An eclectic array of artists – from Dirtybird’s Worthy and the Fort Knox Five to Sea of Dreams’ own Robbie Kowal as Motion Potion – delivered exceptional sets to eager fans, lapping up celebratory drinks and reveling in style on the dancefloor.

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Descending onto the main dance floor was a treat in itself; decorations adorned the ceiling while live painters and artists from Anthony West to Gregorio de Masi lined the walls, finishing the musically influenced masterpieces they began the night before. Mikey Thunder opened the night, followed by the funky freshness of Lettuce. Beats Antique came out swinging with animated set, more exuberant than their Creature Carnival Tour.  Live performers including Zoe Jakes writhed to a bass heavy take on world music, with group members David Satori on the violin and Tommy “Sidecar” Cappel on the drums.  For the second time in as many nights, the Pretty Lights Music Band reminded the crowd what dance music should truly be about – musicians and artists collaborating on the creative process, the end result – pure magic. Lightning Director LazerShark outdid himself, as the room filled was once again bombarded with the salacious sounds of a menagerie real instruments.  I can’t stress how wonderful it is to hear the color a brass section produces or the emotions an organ can convey. As Derek and the band flowed through old (and personal) favorites like Hot Like Sauce and Keep Em Bouncing, I actually forgot that we’d just seen him the night before; it was a completely different vibe, but the same musical prowess and passion.

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Whether it was the exceptional talent presented by the Pretty Lights Full Band, a desire to head home after the midnight ball drop or the almost poetic lull of music after Pretty Lights as the stage was discombobulated and reconfigured in front of our eyes – the crowd seemingly disappeared at 1:30; only to be slowly drawn back to the dance floor as Flying Lotus took the stage.  The 2am crowd at Sea of Dreams had a mystique to them, a twinkle in their eye and an extra bounce in their step.  As the music picked up, a hushed tone settled over the room; bodies at rest were revived and reinvigorated by the subtle tonality of near binural beats layered over intelligent lyrics.  Dancing suddenly felt more like reacting as the low end frequencies emanated from my head down to my toes.  We stood there, eyes transfixed on the cube come to form in the center, projection mapping psychedelically warping our minds.  The lyrics wrapped their way around our skulls and into our memory, while the projection mapped visuals manifested, fractled and spiraled into and out of control. Tl; dr: my mind was blown.

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Like a select other festivals that boast permaculture and collaboration through societal progress – Sea of Dreams is about more than just the music; it’s about the culmination of a music and collaborative community that embrace it.  I spent the two nights of SOD celebrating with good friends old and new, festival friends that I’d made at Lightning in a Bottle and new friends just as thrilled as we were to rock into the New Year surrounded by exceptional artists, visionaries and peers. With the menagerie of live musicians that graced the main stage we’re seeing true musicians push back against the stigma – displaying their instrumental prowess as well as their exceptional production skills on the same scale.  it’s a different crowd, a different edge of the venn diagram that EDM lovers mingle between.  For once, the ‘Dance’ was rightfully thrown back into the moniker ‘Electronic Dance Music’ and was sweet music to all of our ears. It’s been said that how you spend your New Years Eve is indicative of how your year is going to be, and if so – the dance community is in for quite a treat this year.

To take a gander at the breadth of the photos from Sea of Dreams, head over to The DJ List’s Photo Gallery or our photographer Daniel Leist’s Gallery.

For more information on Pretty Lights and Sea of Dreams, check out their socials –

Pretty Lights: Website | Facebook | Twitter | Soundcloud

Sea of Dreams: Website | Facebook | Twitter

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