EDM news
Hit’n’Mix Unviels Next Level AI DAW Called RipX DAW!
Hit’n’Mix
Riley Knapp, platinum selling songwriter & producer explains “The output of most AIMusic Generators is robotic, chaotic and usually unlistenable. This is due to the fact AI ‘samples’ contain elements that are out of key, out of time and don’t follow any musical structure. With RipX DAW, I am able to separate each sound within a generation, re-pitch and fine tune any elements, create a musical structure out of it and replace any subpar sounds with high quality sounds. RipX DAW’s unique ‘Edit-in-Mix’ workflow makes it possible to humanize AI Music.”
Listen to clips of Riley’s work with RipX DAW and AI here.
The first and only DAW to treat audio and MIDI ‘as one’, RipX DAW replaces existing RipX DeepRemix, DeepCreate and DeepAudio modules with a streamlined offering of one standard and one Pro version. Built around the revolutionary Rip Audio format, it makes child’s play of in-the-mix editing in ways that are not possible with waveform and MIDI based software. RipX DAW is tailor-made for every kind of music and audio creative, with special emphasis on the new generation of AI-inspired content creators
Martin DAW, Hit’n’Mix CEO and the creator of RipX DAW comments: “The excitement, fun and creativity that RipX users express to us each day has incentivised our team into creating something truly unique, powerful and accessible. We listened, and to enable even more creative time within the RipX environment, we seamlessly added tailored recording tools, workflow improvements and effects. As we carefully worked-in these enhancements, it became clear that we were on a direct course to the creation of a DAW in its own right. Not just any DAW, but one built from the ground up with ease-of-use and unprecedented control over music and audio at its very heart. Moreover, AI music generation has become big news over the past few months, and the Rip Audio format is ultimately placed to make this technology truly useful, and importantly ensure that human creativity is not lost, with peerless in-the-mix editing and audio extraction. Now you can create music from start to finish and even transform AI’s musical imaginings into your own, all within RipX DAW and RipX DAW PRO.“
● RipX DAW includes the world’s leading audio separation and in-the-mix note & chord editor technology. It’s possible to break down and customize output from AI Music Generators with integrated access to a leading service. Additionally, record using a MIDI/MPE/laptop keyboard, or microphone/audio input, laying down sounds extracted from existing audio, or the built-in library. A wide range of single-click automated effects are included, allowing for plenty of experimentation.
● RipX DAW PRO includes all of the features and functionality of the RipX DAW, then adds advanced stem and AI Music Generator clean-up, Audioshop sound manipulation tools, and pro DAW features to the workflow. Tweak sounds at the harmonic level, draw in guitar slides and vocal embellishments, and edit noise and unpitched sound without affecting the melody. Python scripting is included for complete programmatic control over audio.
To celebrate this news, Hit’n’Mix is offering 30% off RipX DAW, RipX DAW PRO and upgrades in their Black Friday Sale, which runs from 7 November – 7 December 2023.
What’s more, free upgrades are available for RipX DeepRemix & DeepCreate owners to RipX DAW, and similarly, RipX DeepAudio to RipX DAW PRO
Full MSRP
RipX DAW $99/£99/€114
RipX DAW PRO $198/£198/€228
RipX DAW & RipX DAW PRO are the only DAWs on the market that offer:
● MIDI and audio ‘as one’ – no separate audio and MIDI tracks. Once MIDI and audio are inside RipX they are in Rip Audio format, and all features including editing and effects can be applied, no matter what.
● 6+ tracks of stem/instrument separation each of which can be independently muted, soloed, extracted and adjusted.
● Further separation of stems/instruments into fully editable notes, chords and unpitched sounds.
● The ability to customize, clean-up, transform and rearrange ideas directly from AI Music Generators.
● Sound blending and substitution – blend and replace instruments and sounds with different instruments and sounds to adapt and be creative with performances.
● The world’s first audio separation sampler – rip your song into layers, add sounds from them to the Sounds Panel, then re-perform with a controller into a new or existing layer.
● Advanced remixing capabilities even within ‘fixed’ stereo audio files.
● Note and chord recognition to help musicians learn parts to songs.
● A user-friendly, note-based interface – for transparent pitch/time-based editing and effects, with instant visual feedback.
● Colour-coded notes and Layers used throughout to enable a clearer understanding of the music and applied effects.
● The ability to apply/randomize scales and keys of newly separated stems, all in one app.
● One-click effects, sound replacement and Combo Effects – quick and easy to set-up, tweak and combine, versus stock DAW plugins and chained plugins.
● Ripping of favorite VST3 instruments – to re-perform and manipulate in any way imaginable.
● Unprecedented control over notes, harmonics, noise and unpitched sound using Audioshop tools, the Harmonic Editor, Repair Panel and RipScript Python scripting.
● The ability to import your own background images to set the mood – supported by very few DAWs.
Recently Added Features Include:
● Computer Keyboard recording input
● Step Time entry
● Quick Panel for commonly used and favourite effects, plus Search box for effects and sounds
● Chorus, Saturation and Flanger effects with improved Compression
● Integrated AI Music Generator access
● Improved sound replacement
● Click layer for audible beat alignment
● Highly functional note/percussion groups with snap-to original beat markers
● One click effect and sound application
● Automatic panel expanding to show currently applied effects
● Automation lane selectors to show what effects and sounds are applied where and to what layers
● Significantly faster ripping
● PRO version: EQ Panel and DeEsser
● Many recording and playback improvements, including automatic grouping of new recordings for easy editing and fast application of effects with automation
● Sound, Loop and Rip Layer auditioning plus click and drag insertion
● A multitude of user interface and editing tweaks for a more intuitive and smoother experience
What Top Professionals are Saying about RipX DAW
“RipX has made the most utilitarian software for Musical Directors that I’ve seen in ages. I am now able to dissect and interact with audio files in a way that only a few years ago I couldn’t fathom.” Nolan Frank – Musical Director, Keyboardist & Multi-Instrumentalist – Justin Bieber, Noah Cyrus, Grace Vanderwaal
“RipX allows me to manipulate music in ways I didn’t think were possible. Both a corrective and creative tool, RipX turns audio files into beautiful silly puddy. I can incorporate AI generated musical ideas and alter them to fit my project perfectly.” Cary Singer – Producer, Composer, Guitarist & AI Enthusiast – Big Sean, Clairo, PVRIS
“Using the new RipX DAW, I’ve been able to transform what would have been unlistenable & robotic sounding AI generations into beautiful, human sounding musical pieces.” Riley Knapp – Platinum-Selling Songwriter & Producer – Julia Michaels, Niall Horan
“I am having a lot of fun with RipX… I love it!” Fatboy Slim – Grammy, MTV & Ivor Novello Award-Winning Artist, Music Producer, Remixer & DJ
Trials, Downloads and Purchasing
A 21-day free trial for RipX DAW PRO can be downloaded here. Full licenses can be purchased from Hit’n’Mix‘s resellers or on-line here.
System Requirements
● macOS 10.12+ (2011 & later models, including M1/M2) / Windows 7/8/10/11 (64-bit)
● Minimum: 2 Core 2.5GHz CPU, 8 GB RAM, 20 GB Free Disc Space
● Recommended: 4+ Core CPU / Apple Silicon M1/M2, 16+ GB RAM, 20 GB Free Disc Space
● For Much Faster Ripping Speeds on Windows 10/11: NVIDIA GeForce
1070/1080/1080Ti/2070/2080/2080Ti/3070/3080/3090/40XX with 16 GB RAM and NVIDIA CUDA Toolkit 11.0 installed (free download)
NOTE: Product pricing, features, specifications, system requirements, and availability are subject to change without notice
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Calvin Harris and Florence Welch’s ‘Sweet Nothing’ celebrates 14 years after becoming a UK No. 1 and one of the biggest singles from the album ‘18 Months’
Fourteen years after Calvin Harris and Florence Welch released ‘Sweet Nothing’, the collaboration remains one of the most remembered songs from the 18 Months era. Released in 2012, it brought together two artists who were already having very different but highly successful years in music, with Calvin Harris also working with Florence + The Machine around the same period. What followed gave ‘Sweet Nothing’ a much bigger story than its original release, from how the collaboration happened to the success that followed on both sides of the Atlantic.
The Story Behind ‘Sweet Nothing’
Before ‘Sweet Nothing’ became one of the most beloved songs from Calvin Harris’ 18 Months era, he and Florence Welch already had history together. Earlier in 2012, Calvin Harris remixed Florence + The Machine’s ‘Spectrum (Say My Name)’, which went on to reach No. 1 in the UK. That connection later led to an original collaboration, with Kid Harpoon joining Calvin Harris and Florence Welch as a co-writer on ‘Sweet Nothing’.
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The song placed Florence Welch’s vocal in a more electronic setting than much of her work with Florence + The Machine at the time, while fitting naturally into the sound Calvin Harris was developing across 18 Months. It became part of an album that also featured collaborations with Rihanna, Ellie Goulding, Example, Kelis and Ne-Yo, helping place ‘Sweet Nothing’ within one of the most successful periods of his career.
From UK No. 1 To The Billboard Hot 100
Once ‘Sweet Nothing’ was released, the collaboration quickly became much more than another single from 18 Months. It reached No. 1 on the UK Singles Chart in October 2012, giving Calvin Harris another chart-topper only months after his remix of ‘Spectrum (Say My Name)’. The song also crossed over strongly in the United States, where it reached the top 10 of the Billboard Hot 100 and gave Florence Welch her first top 10 hit on the chart.
The success continued beyond its original chart run. ‘Sweet Nothing’ later earned a nomination for Best Dance Recording at the 2014 Grammy Awards, while 18 Months was nominated for Best Dance/Electronica Album the same year. Its music video, directed by Vincent Haycock, also became an important part of the release, pairing Florence Welch’s performance with a darker storyline that contrasted with the track’s club-focused production.
Fourteen years later, ‘Sweet Nothing’ remains closely tied to a period when Calvin Harris was becoming one of the biggest names in electronic dance music, while Florence Welch was bringing her voice into collaborations far outside Florence + The Machine. Between the story behind the record, its success in both the UK and the United States, and its place within 18 Months, the song has lasted far beyond its original 2012 chart run.
From UK No. 1 To The Billboard Hot 100
Once ‘Sweet Nothing’ was released, the collaboration became much more than another single from 18 Months. It reached No. 1 on the UK Singles Chart in October 2012 and gave Calvin Harris another chart-topper that year. The song also found major success in the United States, reaching the top 10 of the Billboard Hot 100. It became Florence Welch’s first top 10 hit on the chart.
The success continued after its original chart run, with ‘Sweet Nothing’ earning a Best Dance Recording nomination at the 2014 Grammy Awards. 18 Months also received a nomination for Best Dance/Electronica Album that year. The Vincent Haycock-directed music video added another part to the release, following Florence Welch through a nightclub performance alongside a darker relationship storyline.
Fourteen years later, ‘Sweet Nothing’ remains closely connected to one of the most successful periods of Calvin Harris’ career. It also gave Florence Welch one of her biggest collaborations outside Florence + The Machine. Its UK No. 1, U.S. top 10 and Grammy nomination all followed a partnership that had started only months earlier with ‘Spectrum (Say My Name)’.
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Annie Mac brings ‘Annie Mac Presents’ to Apple Music with eight volumes from the 2010–2017 mix series available to stream for the first time
Annie Mac is bringing more than a decade of her dance music archive to Apple Music, with eight volumes of Annie Mac Presents available to stream for the first time. Originally released between 2010 and 2017, the compilation series documented the house, techno, bass and electronic records she was championing throughout that period, with many of the mixes previously only available on CD. The launch also includes a dedicated Before Midnight curator page and her 2025 Warehouse Project set, bringing older material and more recent work together in one place.
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Eight ‘Annie Mac Presents’ Volumes Are Now Streaming
Originally released as double CDs, each edition of Annie Mac Presents will appear on Apple Music in two parts, making 16 mixes available from launch. Many of the original mixes had only existed in physical form, with Annie Mac returning to CDs from her own collection as part of the process of bringing the archive online.
Across its nine-year run, Annie Mac Presents followed the genre-spanning approach that became central to her broadcasting and DJ career. The compilations moved between house, techno, bass, electronic music and crossover records, pairing emerging artists with established names while documenting the music she was supporting throughout the 2010s.
Before Midnight Gets Its Own Apple Music Page
The archive forms part of Annie Mac’s new DJ Mix curator presence on Apple Music, with the page centered around Before Midnight. She launched the club concept in 2022 around an earlier schedule for nights out, keeping the focus on club music while changing the hours in which the events take place.
The Apple Music launch follows the latest Before Midnight show at Alexandra Palace in London on September 12. Her Before Midnight set from The Warehouse Project, recorded on September 6, 2025, is also being added to the platform alongside the Annie Mac Presents archive.
Annie Mac’s Archive Connects Different Parts Of Her Career
The release brings together material from a period when Annie Mac was one of the most prominent voices on BBC Radio 1 with the work she has continued since leaving the station in 2021. She first joined Radio 1 behind the scenes before beginning her own show in 2004, remaining at the station for nearly two decades.
Since then, she has continued across DJing, writing, broadcasting and live events, with Before Midnight becoming one of the main projects in that next period of her career. Bringing Annie Mac Presents to Apple Music now places those earlier mixes alongside her more recent DJ work, making a large part of that archive available digitally for the first time.
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‘Like a G6’ hits 1 billion Spotify streams as KSHMR, Far East Movement and Dev celebrate the milestone
Released in 2010, ‘Like a G6’ became a huge global hit for Far East Movement, The Cataracs and Dev. The track reached No. 1 on the Billboard Hot 100 and spent three non-consecutive weeks at the top. Sixteen years later, it has now passed 1 billion streams on Spotify, with KSHMR marking the milestone on Instagram with the message “We made it to 1B.”
KSHMR’s Connection To ‘Like A G6’
When ‘Like a G6’ was released in 2010, KSHMR was still producing as Niles Hollowell-Dhar, one half of The Cataracs alongside David Singer-Vine. The duo produced the record for Far East Movement, while Dev provided the vocal that became one of its most recognisable elements.
Her part originated from ‘Booty Bounce’, which The Cataracs had produced with her earlier that year. They later used part of that vocal in ‘Like a G6’, helping create the version that went on to become a worldwide hit. The record gave Niles Hollowell-Dhar one of his biggest commercial successes years before he launched KSHMR.
His reaction to the Spotify milestone now brings that earlier part of his career back into focus. Long before the KSHMR project began, ‘Like a G6’ had already connected his production work to one of the biggest crossover records of the early 2010s.
‘Like A G6’ Became A Global No. 1
Following its release, ‘Like a G6’ climbed to No. 1 on the Billboard Hot 100 and held the position for three non-consecutive weeks. The achievement also made Far East Movement the first Asian American group to top the chart.
The track came at a time when electronic production, hip-hop and pop were increasingly crossing into the mainstream. Its success introduced Far East Movement, The Cataracs and Dev to a much wider audience, while also giving each artist one of the biggest records of their careers.
That success led into very different paths afterward. Far East Movement continued releasing internationally, Dev developed her solo career, and Niles Hollowell-Dhar later left The Cataracs before launching KSHMR.
More than 16 years after its original release, ‘Like a G6’ has now passed 1 billion Spotify streams. The milestone adds another major achievement to the track’s history while bringing one of KSHMR’s earliest major records back into focus.
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