What is now being dubbed as the “Worlds most transformative DJ stand” and “something which can evolve with the energy of the evening” by Adam Davis, Chief creative officer of TAIT – Deadmau5’s Cube 2.1 stands to deliver a new, special type of show for patrons heading out to the “lots of shows in a row” tour.

The Cube includes advanced pixel mapping, 16 automation boxes each capable of independant graphics and movement. It will feature mind boggling animations and has the ability to transform into almost anything, further cementing Deadmau5’s innovation and lead in technology when it comes to stage design.

Get a sneak peak below

Soundcloud has been changing the way they do business over the last few months in an attempt to better serve the users who continually use the music sharing website.

It’s no secret that Soundcloud has been one of the, if not the, most popular music sharing services online for quite some time now. Throughout 2015 and early 2016, Soundcloud was removing DJ mixes and accounts but not until they signed a new contract with GEMA, giving them the ability to allow DJ mixes to be posted, Soundcloud has been moving towards the future by creating a new subscription service “GO+” as well as introducing new revenue streams for artists.

Now, for the first time, Soundcloud is welcoming DJ’s and producers to apply for the “Soundcloud Premier” program, which allows select artists to earn revenue for mixes, remixes and other content.

In a statement made by a Soundcloud spokesperson while speaking to THUMP,

“This will be the first time we’ve invited DJs and producers who create remixes and sets on SoundCloud to start to be able to monetize and participate in the revenue that we’re generating through ads and subscriptions.”

Names of artists who are included in this program have not been released yet, but if you’re a DJ or producer, feel free to sign up HERE.

With this, we see Soundcloud take another step forward towards the future of online music services and it’s definitely refreshing to see compared to the state Soundcloud was in a year ago today.

Behringer is back again with another statement regarding future production plans. He recently announced plans to create a “budget” line of synthesizers and is now intending to clone the vintage synthesizer, ARP 2600.

Though the report is surfacing from a forum discussion on “Gearslutz”, Behringer has voiced his plans on the website many times before. He has stated that the ARP 2600 is “high on our priority list” despite having an original model to clone.

The 2600 was a semi-modular, three-oscillator design with a separated sound generator and keyboard manufactured throughout the ’70s. It has most recently entered the public domain, which means it is now eligible to be directly copied without copyright infringement.


Gear heads know what it’s like to want something new. Heck, most of us are usually looking for something old but the goal is mainly to be surrounded by as much gear as possible; even if that does mean emptying out your bank account.

Roland has just unveiled a 360-degree immersive video inside of their private museum in Hamamatsu, Japan. From dum machines to synthesizers and everything in between, every musical instrument from 1972 – 2000 is showcased in the museum.

Take a walk through here

Sputnik Modular and Roman Filippov specifically, is working on a clone of the vintage synthesizer, Yamaha CS-80.

The original CS-80 was produced in 1977 and is one of the most sought after synths with sales usually reaching $15 – 20K. The synth was made popular by Vangelis’ Blade Runner soundtrack and is predominately heard during the opening scenes and subsequently throughout the rest of the film.

Spoiler Alert: For the fans of Blade Runner, the clone is named Deckard’s Dream, referencing the unicorn dream sequence Harrison Ford’s character, Rick Deckard goes through which can be interpreted as he is actually a replicant of himself.

Via Wikipedia: “Deckard’s unicorn dream sequence, inserted into the Director’s Cut, coinciding with Gaff’s parting gift of an origami unicorn is seen by many as showing that Deckard is a replicant – as Gaff could have accessed Deckard’s implanted memories.[21][33] The interpretation that Deckard is a replicant is challenged by others who believe the unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognize their affinity,[34] or that the absence of a decisive answer is crucial to the film’s main theme.[35] The inherent ambiguity and uncertainty of the film, as well as its textual richness, have permitted viewers to see it from their own perspective.[36]”

Deckard’s Dream is an eight-voice analogue build that will be available as a DIY as well as pre-built. Unlike the original CS-80, Deckard’s Dream is a rackmount design.

There are no current prices or release date but synth enthusiasts hold tight.


View the gallery above for images of Deckard’s Dream.

Pioneer has introduced a cost-effective solution to the DJM series with the 250MK2 which will be available March 2017.

The leaders in DJ equipment have included a Magvel crossfader which is taken from the DJM-900NXS2, a filter with nuanced control unlike previous mixers and smooth channel faders with a three-band Eq.

The mixer sports a built in sound card which allows for easier connections and straightforward recordings. Included with the mixer are Rekordbox DJ & DVS License keys.

Pioneer’s DJM-250MK2 will retail for €349
Find full information, photos and specs HERE

Hey guys, welcome back to another month of Devv’s Do’s & Don’t’s. This time around we’re going to take a step away from the nitty-gritty production techniques and quickly go over something every aspiring producer should know how to do – how to properly submit a demo to a label. I’ve had a few friends pick my brain about this topic recently, so I figured why not make a list! Let’s jump right into it.


  • Do your research first. Find labels where you think your music would fit best before blasting out emails. If you make dreamy deep house, don’t send your demo to a label that only releases dark techno. This is just a waste everyone’s time.
  • Only send tracks that are completely finished. You want the label to hear your best, complete work.
  • Send in mp3 320kbps or in WAV. It doesn’t have to be mastered, but sending a self-mastered version of your track necessarily isn’t a bad idea (if you can do a decent job). A lot DJs that have their own labels like to test out demos they receive before they sign anything… so give them something quality to play.
  • Send a private Soundcloud link with downloads enabled. A (sometimes) acceptable second option would be a private download link, like We Transfer, but these links often expire after a certain amount of time. Some labels might be so backed up with demos they might not listen to yours for a couple days/weeks; so private Soundcloud links to your profile is safest.
  • Disable track stats on your demos on SoundCloud, especially if you intend to send your demos out to multiple labels. This is KEY and probably the only good feature of Soundcloud (lol). This is so whoever is listening to your demo can’t see how many people may have listened to it. A label is much less likely to sign a track if 30 other people have already listened to it than if 0 people have listened to it (or so it appears). Labels want something nobody has heard yet – that something ‘fresh’. Give it to them.
  • Don’t attach mp3 files into your gmail. Ever. Just don’t do it.

  • If you have more than one demo to send, make a playlist of demos and send them all in one link. Don’t send individual emails for each demo, this will just piss off the label and whoevers job it is to listen to them.
  • Unless specifically asked by the label, don’t include your life story in your demo email. Although I’m sure it’s very moving, nobody is really going to care about how you rediscovered your passion for music while you were out one night in college and probably did one too many pills and then decided to drop out and pursue your dream of becoming a famous DJ. A lot of labels get dozens if not hundreds of demo submissions a day, so even though I’m sure they’d get a laugh out of your compelling novel, keep your demo email quick & to the point.
  • Things to include in your email: Your name, where you’re from, how many demos you wish submit & why (this last why part can be optional, but sometimes it’s nice to put a quick word like ‘I’ve been following your label for x amount of years & I’m a big fan of what your label is doing // or // your label is a big inspiration to my sound’ etc.), thanks for listening…. Boom, done!
  • Make sure to include links to your socials in your email signature at the bottom (gmail has a function in settings to set this up). This way the label your sending your music to can find out more about you.
  • Reach out to label owners/artists you like/artists releasing on labels you want to release on etc. on social media. Hit them up on Facebook, Twitter, whatever. Try to make a connection. Although there are plenty of dickheads out there, a lot of the guys you might look up to are just like you, so don’t be shy!
  • Be patient. Wait. Wait some more. The demo process can be a grueling one, and each label is different on how they choose to respond (should they even respond). A lot of labels run on basis of ‘We get a lot of demos, and don’t have time to respond to everyone. If we like your demo, we will contact you.’ Other labels will send a general automated message saying thanks for the submission & give you a timeframe on when you should hear back from them if they like your track. As a rule of thumb, I’d say give a busier labels 2-3 weeks grace period to get back to you before moving on.
  • Don’t forget that every label is different – a lot of labels lay out exactly what they’re looking for when it comes to demos so be sure to do your research before sending anything!

Happy demo-ing & good luck!

A new brand, Wheel, has introduced a record player that has not been seen before. The record finally gets the turntable it deserves.

Wheel is a minimal record player, that’s only a wheel. Simple, pure and easy to use. Instead of placing your needle on top of the record, just placed record on Wheel and it will play the bottom while all functions are controlled by the centre stick.

Wheel is able to be used both horizontally or vertically, allowing it to be hung on the wall as functional decor.

Wheel will cost $850 at retail but is currently crowd funding on Kickstarter with discounts up to 30%.

Deadmau5 has officially released a glimpse of his newest collaboration with TAIT in the form of Cube 2.1. The new video is a look behind the scenes with the mau5 & project collaborators from TAIT who dub themselves as the World Market Leader in designing, constructing and delivering the finest live event equipment in the world.

TAIT’s Chief Creative Officer and partner Adam Davis claims that

“..The Cube is the newest, coolest DJ stand/machine we’ve ever built.”

Coming from a company that boasts quite an impressive portfolio, it’s something to be said. TAIT has worked with the Olympics, Academy Awards, MTV & many more. TAIT has also worked with deadmau5 in the past, for his Hakkasan residency and performance at Veld 2016.

In a recent video posted by Synthopia, Uli Behringer, founder of Behringer, was discussing the companies budget and future plans at a corporate event leading up to the NAMM conference in January.

He stated that,

“We can’t stop this anymore – we’re going all in… everything you guys want” 

What Behringer was tying to describe were his plans to hire more engineers and build  an entire line of synths; The cheapest option retailing for $49 with the DeepMind 12 being just the beginning of a shift towards the synth market.

With synthesizers set at this price, Berhinger’s direct competition will be Korg who most recently in 2016 released a new line of synthesizers priced at $500 and less.

Watch the full video here