Born and raised in São Paulo, Leo Lauretti has successfully established himself as the fastest rising progressive-trance producer in the country. He’s been supported on massive shows like Above and Beyond’s Group Therapy, Ferry Corsten’s Corsten’s Countdown and Cosmic Gate’s Wake Your Mind, and has continued his winning streak in 2020 having reached Beatport’s Trance Top 10 and three consecutive Trance Hype Top 1 with his releases “Dust” and “Find My Own“, and “Stay With Me“.
His latest release, “Take Me Away“, is a collaboration with Blue Harvest featuring the beautiful vocals of Stephanie Collings, is another soon to be hit, carrying the weight of an anthem for dance music fans all around the world. It’s Stephanie’s debut and a powerful one, as Lauretti and Blue Harvest perfectly compliment the vocal with a euphoric arrangement that can’t help but captivate you instantly.
The dream home recording studio – it’s what every music producer wants.
The rare analog synths. The perfect monitors. All those knobs and buttons to tweak…
But back to reality – most of us don’t have the cash to splash on this kind of setup – at least not yet.
In fact, for most of us, the studio is either in the bedroom or somewhere at home.
That being said, what is actually necessary? What are the non-negotiables?
In this comprehensive guide, we’ll cover:
The myths about home studio equipment
The three things you truly need to make great music
Different types of studios and the gear you’ll need for each
How to set up your studio as an EDM producer
Whether acoustic treatment is actually necessary or not
Let’s take a look.
But first, you probably want to make good electronic music, right?
Yet you’re new. You don’t know how this all works yet. And setting up your studio is only one part of the journey.
That’s why we wrote our guide – How To Make Electronic Music. It’s been read by 11,000+ producers and helped many find their footing in the world of electronic music production.
Grab it for free below:
Download the PDF Guide
The 3 Types of Studios
Before we dive into the list of gear you’ll be buying, I want to introduce you to a concept:
There is no ideal home recording studio – only the studio that suits you.
Everyone has different preferences, environments and needs. So get the equipment that suits you the best.
To help simplify this concept, I’ve broken the studio down into three design archetypes:
The Minimum Viable Studio
The Average Studio
The Veteran Super-studio
You may fit into any of these, or somewhere between.
For example, I’m probably closest to the average studio, but also don’t have all the equipment required for it.
Note: these studio concepts are aimed at electronic music producers, and not traditional engineers or recording artists.
The Minimum Viable Studio
Don’t believe the lies – you actually don’t need much equipment to make music.
Many hits have been created with what we call the ‘minimum viable studio’, and most of the parts you likely already have.
At its core, a minimum viable studio has three essential parts:
A computer
A DAW (with good samples)
Headphones
In this view, anything else superfluous, and possibly distracting.
The endless quest of plugins, synths, and gear can take you away from the goal – making music.
Besides, it’s also a highly-portable studio setup (if you have a laptop) and ideal if you don’t have a room or constant location to work at, or your room is small.
Lastly, it’s great if you’re on a budget and don’t have a lot of wiggle room.
The Average Studio
This studio consists of the ‘standard equipment’ recommended when you search for what you need.
Beyond the requirements of the minimum-viable studio, this includes parts like:
Studio monitors
An audio interface
A MIDI keyboard
A microphone
Third-party plugins
Acoustic treatment
These things are staples in studios for a reason – they help you make great music, and can help avoid a lot of workarounds.
Personally, I don’t subscribe to the notion that this type of studio is ‘essential’ for producing music, as many engineers and producers would have you think.
Granted, I have most of the items in this list (besides proper acoustic treatment), but I’ve gone without before and I was fine. The improvements are there but only marginal.
The Veteran Super-studio
These types of studios are the ones that people like to show off when they post ‘In the studio…’ on Instagram.
First and foremost, they’re highly creative spaces with lots of possibility.
Secondly, they look cool.
You’ll find among them:
Analog synths and drum machines
Modular/Eurorack setups
Outboard compressors/EQs/rackmount gear
MIDI Controllers
Multiple sets of monitors
Deliberately-engineered rooms
These studios are great, but are far from necessary. Hence why I’ve called it a ‘veteran’ studio – I think only those with plenty of experience and successful releases will make the most of these spaces.
Now we’ve cleared up these concepts, let’s start with the most essential gear.
Studio Essential #1: A Computer
Required For: All studio types
Average Price: $2000 (if you don’t have one already)
A good computer is the beating heart of the modern DAW.
I’d go as far as to say that if you don’t have a desktop or laptop, you don’t have a studio (if you ignore the DAW-less hipsters who think going without is a superior way of making music, for whatever reason).
All jokes aside, a computer is necessary because 90% of what you’ll be doing as a producer is in software, not hardware.
It’s also essential for the next piece of equipment – a DAW.
Recommended Options
First and foremost – you likely already have a good system to be producing on.
Sure, it’s not the super-computer you’ve always dreamed of, but it’s definitely capable of handling a solid DAW and some plugins.
However, if you’re not in that situation, or you want to upgrade anyway, read on.
First, a disclaimer. I’m not going to join the Mac vs PC debate, because the truth is it doesn’t matter. You can make the same quality of music on either system, regardless of what people might think.
So what’s the main differences?
Macs are quite expensive but come primed to make music (the audio drivers are particularly good), whereas PCs are cheaper and more customizable, yet require more setup to optimize them for audio production.
Personally, I use a Macbook, but have used both and like both systems.
Of course, the more money you spend, the better specs and performance you’ll get. Here are a few options from each camp:
Specs
Despite the system you use, computer specs are really what makes the difference as to what your system is capable of.
I’m going to list the most important parts of the computer in order, so you know what to consider when making a decision.
Hard Disk: You might be surprised to find this option first, but a kitchen can’t function without the pantry. Think about it – every sample, piece of software and plugin lives on your hard drive. If it’s slow or too small, you’ll always come up short. Invest in an SSD for your main system at least (you can use a spinning disk drive for long-term storage) and you can thank me later.
Processor: Definitely close to or as important as the hard disk. Go for at least a dual-core Intel processor, ideally i5, i7 or i9. Other processors are good, but you may run into compatibility issues as some software doesn’t like non-Intel processors.
RAM: RAM is important, especially if you’re running huge multi-sample libraries, but is often over-emphasized. 4-8GB is actually fine for most producers, which most systems come with anyway these days.
Display & Graphics: Not a big issue for producers, but it’s nice to have some screen real estate for your DAW and plugins. I’ve made music on massive screens, and small 13″ laptops. See what you’re comfortable with and make the plunge, and make sure you get a graphics card that supports what you need.
Peripherals: Some people are fine making music on a trackpad, others may want dedicated keyboards and mice.
Studio Essential #2: A DAW
Required For: All studio types
Average Price: $500
If your computer is the cornerstone of your home recording studios hardware, your DAW is the same for the software – you can’t really make music without it.
It has everything you need to arrange, tweak, and export high-quality music, at such a ridiculously low price (compared to how much it used to cost to buy lots of hardware).
So even though they might sound pricey, they are 110% worth it.
Personally, I use Ableton Live, which is great for electronic music. The workflow is fast, the layout makes sense and it’s a highly creative environment.
A Word on Samples
Many DAWs come with a solid selection of processing tools, like EQ, compression, and distortion. But a majority of them are lacking in a particular department – samples.
Having high-quality samples to use in your DAW is 90% of what makes music good, so make sure to load up your software with a good selection.
A great, affordable place to start is something like Splice Sounds (sponsored), or check out our list of free resources.
Recommended Options
When it comes to DAW’s, it pays to be selective and to take your time. I’d highly recommend download trials for a few, read a guide and see if you like it or not.
Different DAWs have unique workflows, and it’s worth seeing what suits you best. Yes, the most popular may be Ableton Live and FL Studio, but check others out for good measure.
For a detailed comparison, check out our guide on the best DAWs.
Studio Essential #3: Headphones
Required For: All studio types
Average Price: $150
There’s not much point in having a solid computer with a DAW and samples, when you can’t hear any of it.
This is where headphones come in – they are the most affordable and accessible way to hear the entire frequency spectrum.
Sure, they might not have the accuracy delivered by studio monitors in a well-treated room, but they can get pretty close in a far more accessible way.
However, you don’t want to use any old headphones if you can avoid it.
And whatever you use, make sure you back up your mixes with solid reference tracks, so you can test the quality of your work.
Recommended Options
Studio Essential #4: Audio Interface
Required For: The Average Studio, The Veteran Super-studio
Average Price: $200
Audio interfaces are a staple in many studios for a variety of reasons.
Firstly, they typically have greater sound quality than the built-in soundcard on your computer (particularly true of PCs).
Secondly, they allow you to connect studio monitors and headphones to your setup.
Thirdly, they are essential for recording microphones, synths or any sound source outside of your computer.
Recommended Options
We actually have an entire article dedicated to recommended audio interfaces. But if you want a few quick recommendations, here you go:
Studio Essential #5: Studio Monitors
Required For: The Average Studio, The Veteran Super-studio
Average Price: $400
You’ve got headphones, so why do you need studio monitors?
As great as headphones are (and you can use them purely), they don’t always give an accurate stereo image, or an accurate representation of how things sound in a room with speakers.
Studio monitors are the solution to this – they give the most accurate response possible of your music, acting like a microscope for your mix.
They are made ‘flat’, meaning they don’t have the hyped highs or lows of consumer-grade speakers or hi-fi systems.
Most of the options you’ll be wanting for a home studio will be a pair of nearfield active monitors.
Nearfield means that they are designed to be used in a small room, and active means you don’t need to buy a seperate amplifier – it’s all built in.
Some monitors are ‘ported’ – speakers which have a port at the back or front that increases the low end response, designed for those not using a subwoofer.
At the end of the day, as long as you know how your monitors sound then you can work with what you have.
Recommended Options
If you want more options, check out this solid roundup from Dustin at Musician on a Mission.
Studio Essential #6: MIDI Keyboard
Required For: The Average Studio, The Veteran Super-studio
Average Price: $200
While not an entirely essential piece of equipment, it certainly is more expressive than dragging and drawing notes into your computer.
And if you know your way around a piano keyboard – you’ll be miles ahead.
There is plenty of variation among MIDI keyboards, and you can get tiny portable ones, or giant 88-key centerpieces. The choice is up to you, depending on your needs.
Recommended Options
We also have a dedicated roundup of MIDI keyboards, if you want to deep dive into the breadth of options.
Studio Essential #7: A Microphone
Required For: The Average Studio, The Veteran Super-studio
Average Price: $200
If you’re planning on recording vocals or instruments, then you pretty much need a microphone.
Condenser vs Dynamic
One of the long-standing debates is whether you should start with a condenser or dynamic microphone.
On the one hand, dynamic microphones are more versatile and can allow you to record any number of sound sources with ease.
In contrast, a condenser is far better for recording high-quality vocals with, and captures the recordings much more truthfully.
My recommendation would be based on your needs. Are you going to be singing or recording vocalists? Or are you more interested in recording random sounds and instruments around your house?
Pop Filters & Shock Mounts
If you’re recording any sort of vocals, you need a pop filter and a shock mount.
Why? Because pop filters reduce the ‘puh’ sound from vocalists on certain syllables, making for a more pleasant recording. And shock mounts? They reduce low-end rumble from the microphone being moved and touched.
Most condenser microphones come with both, however if not, you can pick up a pop filter like the Shure PS-6 Popper Stopper and a shock mount like the Rode PSM1.
Mic Stands
Of course, a microphone is useless if it’s just lying on your desk, and you probably want it to be in a certain position to record something.
You can get all sorts of microphones, from desk mounts, to standard tripods, to adjustable arms.
Recommended Options
Studio Essential #8: Acoustic Treatment
Required For: The Average Studio, The Veteran Super-studio
Average Price: Variable
To be honest, this one probably requires an article in itself.
Why is acoustic treatment important? Because your room often skews the response of certain frequencies, meaning some are more resonant than others and will give you an inaccurate idea of what you’re working on.
Acoustic treatment dampens your room’s reflections, giving less of a resonant sound and allowing less interference with your studio monitors and microphones.
Unfortunately, there is no one-size-fits-all approach to acoustic treatment, and you can often spend a lot of time and money on ideal placements and materials, only to get no better of a result.
So it pays to be methodical in your approach, especially if you’re going to be self-mixing and mastering.
Types of Treatment
The main types are acoustic foam, bass traps, acoustic panels and diffusers.
Credit: sweetwater.com
Like I said – there’s no one size fits all approach here, and the topic is also highly divisive.
Some swear by acoustic foam in small rooms, others thing building your own panels is the only want to do.
Setting this up properly will be covered later, but I’ll be honest – I’m not an expert in this realm, and you can check out the guide from E-Home Recording Studio for more info if you wish.
We’ll briefly cover a simple version of setting this up later.
Other Studio Equipment You May Want
Beyond the essentials, you may want to consider a few other pieces or categories.
The following aren’t essential, but could be important depending on your setup:
Studio Chair
I wish I could put this first on the list, but okay sure, you don’t need it to make good music. However, having a good office chair to sit on makes all the difference in not only your productivity but your health.
You may already have one, but it’s good to think long-term about home studio ergonomics and your back, as well as your general comfort when producing.
Studio Desk
A good desk is important, as it will likely house a lot of your studio equipment.
Whether it’s a cheap IKEA desk or a full-blown studio workstation, finding a desk that works for you is imperative. However as with many cases here, you likely already have one, and it will probably do just fine.
Analog Synths
Analog synths can be great for inspiration, workflow and getting a certain sound that you can’t get with VST plugins.
That being said, they’re often quite the investment, so make sure to give a few a go and get the ones that work for you.
Outboard FX Units
If analog synths are outboard plugin instruments, outboard gear is outboard plugin FX. They can range from guitar pedals, to rackmount compressors, to whatever.
Not only do they leave certain sonic imprints, but they can introduce interesting ways of working into your workflow, whether processing certain instruments or your whole mix.
Acoustic Instruments
If you play an instrument, it can be great to have it in your studio (space permitting) for coming up with musical ideas in a fresh way.
Whether it’s a piano, guitar or plastic recorder – making some space for it in your home studio can be super helpful.
Setting It Up: How To Design Your Home Studio
It’s one thing to buy all the gear (always a good feeling) but another to set it up. Especially when it comes to studio monitors and acoustic treatment.
That being said, most of you are producing electronic music. So acoustic treatment is not going to be as important as setting up your computer well.
This is especially true if you’re going for the minimum viable studio.
However, if you’re going for the standard studio, let’s see what’s involved:
Step #1: Find A Space
John Cleese says that it’s imperitive you have a dedicated creative space.
My current home studio
This could be a dedicated room, a separate location, or the corner of your living room.
Whatever it is, consider the following:
Your limitations on space
The acoustics of the room
Avoid high ceilings
Avoid non-rectangular rooms
Avoid reflective surfaces, like windows
Practicality of the location
Surrounding noise and interruptions
Not everyone has the luxury of choosing the ideal space (I get it, this was me).
But you can make decisions to make the space you’re forced to use, the best possible.
Step #2: Arrange & Optimize
Having your home studio setup for maximum creativity and minimum reflections is key.
Even in a good room, you have to consider the acoustics of the location you choose.
First and foremost, this starts with where you are situated in the space.
Are you shoved in a corner? Or are you in the middle of the room?
Is the floor carpeted? Are there couches and rugs to absorb excess sound?
Try and avoid the ’empty room effect’ by putting in absorbing objects that help minimize sound reflections.
Simple decisions like this early on can avoid annoying acoustic treatment workarounds, and sometimes reduce the need for it altogether.
Secondly, you want to consider the placement on your studio monitors in the room (if you’re using them).
Your head creates an equilateral triangle with the speakers (30° angles).
The monitors are on stands or non-vibrating surfaces.
They are a little bit off the wall to give them space to breathe.
Once they are setup on stands or on your desk, make the rest of your studio fit around this setup. This includes keyboards, laptops, audio interfaces etc.
If you’re using a microphone, try to have it in the least reflective space in the room, ideally with a mic shield or nearby acoustic treatment (you could create a dedicated vocal booth, if you like).
Step #3: Test & Adjust
Once your gear is on your desk, everything is plugged in and ready to go, you’ll want to make sure everything is working. Here’s a quick checklist:
Audio interface is connected and recognized by computer.
Monitors connected to interface are producing sound. Both monitors are the same volume and colour (no tonal differences).
The microphone is being picked up by computer through audio interface. Correct LINE/INST switch and phantom power is engaged (if necessary).
Acoustic reflections are minimal or negligible (situational depending on room).
MIDI devices are recognized and receiving MIDI information.
Computer OS is up to most recently recommended update.
DAWs & plugins are installed with compatible versions.
Desk height and chair height is adjusted for ergonomics. Any displays are at eye level if possible.
You may find you have to adjust placements of monitors, update software or reinstall certain things to get your home recording studio in top shape.
It’s important to get this step right, because once it’s done, you can make music with no qualms.
Once your gear is set up, you’ll need to make sure your computer system is organized so you can be an efficient producer.
Check out our guide to sample and file organization for more info on this.
Next Steps
Now that you’ve set up your home recording studio, it’s time to get to making music!
Why not pick up our EDM Starter Kit, full of samples that you can use to make any type of music imaginable.
But if you’re new, creating your studio is only the first step. You need a comprehensive guide for learning electronic music as a whole.
That’s why we created our FREE eBook – How To Make Electronic Music. You can download it below.
With 10 years of music production experience and some marketing chops, I head up the content here at EDMProd. I also make music under Artsea. My pastimes include reading, drinking coffee and taking photos.
Following a string of popular collaborative singles, WAKAAN favorite Lucii welcomes the autumn with the release of ‘Till The Day I Die’. The midtempo bass cut doubles as the lead single of her forthcoming 4-track EP, Wicked, slated for release on October 23rd. Wicked will mark the Orlando native’s first official EP release since her debut Abduction EP in 2018. Out now on Liquid Stranger’s revered WAKAAN imprint, ‘Till The Day I Die’ is out now across all streaming platforms.
‘Till The Day I Die’ kicks off with a haunting guitar riff that quickly cascades into a hazy midtempo bassline. Lucii injects her trademark subtle, yet commanding, vocals and, eerily romanticized lyricism to paint the story of unwavering, unconditional love. The enthralling track explodes into a swirling concoction of oscillating and unforgiving subs, sprinkled with glistening vocal chops. An ode to falling in the ultimate, all-consuming love, ‘Till The Day I Die’ shows listeners another side to Lucii and boasts her knack for creating beats that can best be described as transcendent.
After securing her place as the first female producer to release on Liquid Stranger’s coveted WAKAAN imprint, Lucii’s upward trajectory has been unstoppable. 2020 has seen the psychedelic bass powerful kick her momentum into overdrive with her collaborative singles with Sam Lamar and Champagne Drip. Together, they have amassed over 1.3 million streams across all streaming platforms in only a couple of months, a stunning feat for any electronic music artist on the rise. Now, writing the next chapter in her story, Lucii is getting ready to release her first official EP since 2018. Slated for release on October 23rd, her Wicked EP will feature 4 other-worldly tracks tied together by her unparalleled bass flair.
Stream ‘Till The Day I Die’ here, and find it below on Spotify.
New Aphex Twin content is inevitably arriving soon. Billboards and posters from the lauded electronic artist have appeared in cities around the world, including Los Angeles, Berlin, Bristol, and London. The various pop-ups illustrate Aphex Twin’s iconic logo in red. The British producer has notoriously dropped logo placements to tease forthcoming news. He previewed his 2014 album Syro with an Aphex Twin-branded blimp that flew over London, hinted at a Coachella appearance with a Los Angeles logo drop, and has also been known to scatter logos across Hollywood, Italy, and London.
Music equipment manufacturer Novation pointed to the billboards in an Instagram post, with a brief caption noting, “More info incoming: 20.10.20.” The post has led to speculation that Aphex Twin and Novation have united with a new software or hardware collaboration and optimistically perhaps, an upcoming music release.
Aphex Twin’s last release, Collapse, landed in 2018. Although the electronica mainstay has kept relatively quiet, he notably unveiled six new tracks under the SoundCloud pseudonym “user18081971” in April.
The Flaming Lips are planning a performance in their hometown of Oklahoma City amid the ongoing coronavirus pandemic, but they have a unique way of thwarting a potential spread of the virus. According to frontman Wayne Coyne, each member of the audience will enjoy the show while encapsulated in their own giant bubble, a-la Jake Gyllenhaal from Bubble Boy.
Coyne, of course, has encased himself in a plastic bubble many times over the course of his career, using it to traverse on top of crowds. The Flaming Lips also recently used the bubbles in their remote Fallon and Colbert late show sets following the onset of the global lockdown period, doling them out to a limited capacity audience for the latter performance. However, the fabled psychedelic rock band is now planning to roll them out on a larger scale for the first time.
Coyne waxed poetic about the ambitious new initiative in an interview with Brooklyn Vegan, saying that the globes will be large enough to house three people. “I mean, it seems absurd, but we at first were just doing it as not a joke, but just as a kind of funny thing, and now it’s becoming kind of serious and real,” he said. “We’re starting to get ready to do an actual show where yeah, there’s three people in each of these space bubbles, and we play… We think maybe playing two shows a night, and getting a big audience in there each time.”
Check out a photo of the Oklahoma City show’s stupefying setup below.
“We, the Flaming Lips, already know how to do space bubbles and we know what people do when they’re in the bubbles,” Coyne told JamBase in another interview. “The part that we’re trying to get down is what does the crowd do about going to the bathroom and getting drinks? We don’t want this to be [a super spreader event] like that Smash Mouth [concert].”
While the planned show could certainly be a watershed moment for the live music industry, Coyne asserted that safety is the most paramount concern. “We want this to be safe and a great experience,” Coyne told JamBase. “Those are the things the venue is allowing us to set up so we can start to figure out how it will work. The part about playing in the bubble, we already have down. It’s how we get the crowd in and out without cross-contamination that we need to figure out, but they’re giving us a few weeks in this venue to figure it out. We’re thinking this will probably happen after the election.”
The BPM Festival has announced its much-anticipated return for 2021 with a trailblazing array of events set to take place in Ibiza in collaboration with IMS and Pollen. After a highly successful Costa Rican edition back in January, the house and techno institution is back with its first major announcement for next year. Spanning three days, the shows will not only mark a grand reintroduction of events for BPM as a whole but also serve as a celebration for the White Isle’s long-awaited official reopening. Slated for Thursday, April 29th through Saturday, May 1st, 2021, pre-sale signups for The BPM Festival: Ibiza Showcases are available now.
Set to be the biggest party Ibiza has ever seen – to coincide with the annual IMS Conference – The Ibiza Opening will feature a non-stop weekend of showcase parties at some of Ibiza’s most famed superclubs, hosted by highly-esteemed electronic brand staples from around the world.
Taking place over three days, across three iconic venues, The BPM Festival: Ibiza Showcases will play host to an array of world-class techno talent, with lineups boasting some of the scene’s most adored acts and special b2b performances from the global BPM family. Five years since its first foray hosting an event on the island, at the world-renowned Amnesia nightclub, the BPM brand is now making its long-awaited and much-welcomed return.
Further information on pricing tiers as well as venue and lineup announcements coming soon.
This week, Nevada sat down to chat on the EDM Prodcast.
Nevada is an American songwriter and producer currently based in Stockholm. His debut single ‘The Mack’, which is a rework of Mark Morrison’s 1996 hit ‘Return Of The Mack’, has amassed over 380 million streams globally and climbed the Top-10 charts in multiple countries. Outside of his original music, he’s released official remixes for artists like Liam Payne, Charli XCX, and Ed Sheeran.
We start off with Nevada’s background, discussing his move to Nashville, his first studio apprenticeship, and signing his band to an indie. He discusses how the songwriting scene in Nashville positively shaped his skills as an artist, and why he’s glad he ended up in Stockholm where he’s currently living. He also breaks down how he gained the connections that led him to working with A-list artists, offering his best networking and marketing advice for hungry producers.
On the production side, we discuss several aspects of Nevada’s technical and songwriting workflows. He explains his best strategies for finishing more music, which includes adding the kick and bass last, as well as best practices when working with vocalists and songwriters. He also breaks down why he’s a big fan of iZotope Iris 2, how he approaches filling out more minimal mixes, and why producers need to embrace creating revisions of their songs.
Detroit-based producer Walschlager is set to make his mark on the industry with his debut single ‘Come Correct.’ The aptly titled track exudes potential and is just a taste of what’s to come for this promising new artist. Teetering between shuffle inducing house and gritty bassline, this one is assured to get you moving. Lasers, dark synths, groovy rhythms and wobbly bass are intertwined to create an absolute floor filler. Brooding yet energetic, the vocal samples sprinkle in a hip-hop flavor that only deepens the appeal. Walschlager truly comes correct with this massive debut.
“I wanted this to become my debut single to show the world a movement of coming correct, taking your time to get your things right and come correct. Save those ideas and creations from throwing them into the cosmos. The only true opponent is yourself, take your time, refine your craft, and come correct.” – Walschlager
Born and bred in Detroit, Walschlager is here to take the music industry by storm. Starting his production journey at the age of 12, music has been a core facet of his life since. After spending his teenage years experimenting with a variety of DAWs he found a love for DJing, which soon became his main focus. After narrowly escaping a house fire with his life and losing his equipment he returned to basics. With just a laptop, music production became his refuge and greatest passion once more. Having seen success under other aliases and after honing his craft in LA, Brandon Walschlager is bringing his brand new project to life. Leveraging his own last name, the project truly represents who he is. His music has been supported by Whipped Cream, Dirty Radio, Alrt, Jynx, Brothel, Vermyllion, and was played out at Lost Lands 2019.
Listen to Walschlager’s dynamic debut on Spotify below.
Much like the United States, the United Kingdom is experiencing a devastating unemployment crisis. In response to increasing unemployment numbers and economic deficit, the UK’s government has launched multiple economic plans to offset job losses, leaving creative fields without extra funding, including the music, arts, and nightlife industries.
In a recent interview withITV News, UK chancellor Rishi Sunak was asked whether or not he encourages musicians and other creatives—two professional subgroups that have been hit hardest by COVID-19—to find other jobs in light of the pandemic. Sunak stated,
“I can’t pretend that anyone can do exactly the same job as they were at the beginning of this crisis, and that’s why we put a lot of resources into trying to create new opportunities and ways to adapt to this new reality.”
ITV News‘ Daniel Hewitt quickly rebutted, “but that’s a different job isn’t it? That’s you saying go and get a different job?” Sunak replied,
“That is [a] fresh and new opportunity for people; that’s exactly what we should be doing.”
Public outcry in response to Sunak’s statements prompted him to take to Twitter shortly after the interview to clarify his position. In a tweet, Sunak took a less lukewarm position on musicians’ alleged “need to retrain,” referencing the £1.57 billion government support package developed to help independent venues stay afloat via grants and loans, announced in July.
To people concerned by inaccurate reports that I told musicians to retrain… here’s the transcript. I did not say it and I do not think it.
Musicians don’t need to retrain. When it’s safe, venues need to reopen. That’s why we’ve created a £1.57bn package to protect the arts. pic.twitter.com/6VhN8yYYUM
It’s not easy to pass ZHU on the brooding production front, but Mathame took that challenge on with ease, releasing an otherworldly remix of his recent hit single, “Risky Business.” The Italian brothers reimagined the track into something that soars above the dance floors while still keeping it grounded as a certified club hit. Alongside the remix comes a stunning visualizer that mirrors the mysterious imagery found in the video for ZHU’s original.
Mathame takes “Risky Business” and elongates ZHU’s cut of the title, making it feel as if it’s the little voice in your head telling you to reconsider what you are about to do. That paired with the relentless beat and soaring synths create an unnerving soundscape that pairs perfectly with the original’s dance-noir styling. Both of the renditions are truly cinematic.
ZHU and Mathame are seemingly going remix for remix. The former recently released his own take on the latter’s single “Never Give Up.” If the enigmatic producer wasn’t doing enough already, he just performed a jaw-dropping set live from a moving train in Montana as part of the fourth and final leg of the “Tito’s Made to Order” festival livestream series.
You can stream Mathame’s “Risky Business” remix across all platforms here.
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