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Indian E-music – The right mix of Indian Vibes… » 2017 » October » 01

Audio Evolution Mobile Studio adds loads of new SoundFonts in a truly huge update

Delivered... Ashley Elsdon | Scene | Sun 1 Oct 2017 9:58 pm

Audio Evolution Mobile Studio is one of just a very few cross platform apps running on both iOS and Android. It’s even more unusual in that it actually started on Android and then moved to iOS later, which is a very odd sequence. In this update it has added a lot of new features and tweaks together with 20 new SoundFonts.

Here’s the full list:

* The graphics in the time line area are now drawn much faster (GPU accelerated)
* Added ToneBoosters Ferox tape-simulator plug-in
* Added count-in feature to Tempo dialog
* Reworked file browser: files now have a menu selection in front with sharing options etc.
* Added Stereo Widener effect
* After mix-down, the File browser now pops up to the MixDowns folder of the project
* 20 new soundfonts by Digital Sound Factory were added to the SoundFont shop, featuring many vintage synthesizers and orchestral instruments:
ARP 2600.SF2
ARP Axxe.SF2
ARP Solina Strings.SF2
Elka Rhapsody.SF2 (free!!)
Jupiter 8.SF2
Memory Moog.SF2
Orchestral Brass.SF2
Orchestral Percussion.SF2
Orchestral Small Section Strings.SF2
Orchestral Winds.SF2
Prophet 10.SF2
Prophet 600.SF2
Rhodes Electric Piano.SF2
Wurlitzer Electric Piano.SF2
Yamaha CP-70.SF2
* The soundfont shop now also contains the following discount packs, saving around 30% compared to buying the individual soundfonts:
Drum Kit pack
Orchestral pack
Synth pack 1 (7 of the new synths)
Synth pack 2 (8 of the new synths)
* Project templates: save project as a template and start a new project from a template.
* Added the option to load and save user presets for effects.
* Added an option to the settings to enable velocity for the virtual keyboard depending on the vertical touch position
* On the virtual keyboard screen, short tap on Sustain now toggles the sustain on/off. Long-tap will keep sustain for the duration of the tap.
* The soundfont dialog now scrolls to the current soundfont/bank/preset
* When several sound fonts were present, the default sound font was not always set to GeneralUser.sf2, which could lead to problems when importing MIDI files.
* The pop-up menu is now blocked when setting the time stretch point visually
* The rotation knob preference setting did not show the correct value. Solved.
* Automation wasn’t correct when playing loops. Solved.
* Swiping the area above the mixer now scrolls through the mixer channels
* Solved crash when undo-ing importing of a MIDI file
* Applying ‘Fade in/out’, Reverse or Pitch Shift on a trimmed clip would cause an exception and a clip with a negative or shortened length. Solved.
* Reduced CPU usage when displaying Toneboosters effects
* When a MIDI program change is encountered and the soundfont does not contain the preset number, the program change is now ignored. Previously, no sound would be produced.
* If a preset is selected in the instrument selection dialog, it will remove any program change from the first second of the MIDI track, to make sure the selected instrument will not be overruled.
* Solved a MIDI loop issue
* Zooming in Edit mode could start editing. Solved.
* Changed several effect parameters that control frequency to behave exponential (BandPass, LowPass, etc.)
* Editing a MIDI clip could result in the first event in the clip not playing. Solved.
* Solved a crash with arming a track in mixer view
* Changing the note length of MIDI events by using the white markers was not always quantised. Solved.
* The IAA play/stop state is now passed correctly

Audio Evolution Mobile Studio for iOS is on the app store now:

You can also get Audio Evolution Mobile Studio for Android here.

The post Audio Evolution Mobile Studio adds loads of new SoundFonts in a truly huge update appeared first on CDM Create Digital Music.

MultitrackStudio for iPad 2.8 brings iOS11 compatibility and a raft of other new features

Delivered... Ashley Elsdon | Scene | Sun 1 Oct 2017 7:52 pm

There aren’t a huge number of DAWs in the iOS world, but those that are have been established for a while, like Auria that started off in 2012, Cubasis from late 2012, and Multitrack DAW which started in 2009. So by comparison MultitrackStudio for iPad has been only ben around since early 2014, so it’s sort of a new kid on the block. Even so it has a fairly comprehensive feature set for an iOS DAW, and in the latest version it’s brought right up to date with support for iOS11 together with additional features and fixes.

Here’s the full list of what’s new:

• iOS 11: Can drop files on import dialogs, track editors, Convolutor pane, SoundFont Player pane and Matrix Sampler cells.
• Adding notes in pianoroll/score editors: you can now adjust the pitch of the new note by moving your finger vertically. Also applies to adding dots in midi controller editors, automation editors and Automated Fader effect.
• New “Follow” button. Editors don’t follow transport position if this button is off. You can use this if you want to apply some edits while the transport is running so you don’t have to worry about the editor moving to the next page unexpectedly.
• Pianoroll: ‘Split at transport position’ now also works when multiple notes are selected.
• Pianoroll/Score editors: ‘Split in equal parts’ now has ‘Other…’ option which lets you type any value.
• Pianoroll/Score editors: Repeat now also works if just a single note is selected.
• Drum editor: instrument selector now pops up after longtapping a name box. This is more consistent with the rest of the user interface than double tapping.
• Some (minor) MIDI editor improvements.
• Now uses AudioBus 3 SDK (no new features).
• Improved compatibility with Bram Bos AU plugins.
• Fixed: some AU plugins caused and ‘Invalid floating point operation’ error on tapping “Export Mix…”.
• Fixed: Pitch controller editor’s ‘R’ button (pitch bend range) wasn’t always visible.
• Fixed: removing click track could cause error in some cases.

MultitrackStudio for iPad isn’t the most expensive nor the cheapest of the pack either. It’s price has remained stable at $29.99 for some time, although there’s an additional IAP (in app purchase) for the ‘Pro’ upgrade at $19.99.

You can find MultitrackStudio for iPad on the app store by clicking below

The post MultitrackStudio for iPad 2.8 brings iOS11 compatibility and a raft of other new features appeared first on CDM Create Digital Music.

October Regulatory Dates for Broadcasters – Quarterly Issues Programs and Children’s Television Reports, EEO Obligations, Repacking Reports and More

Delivered... David Oxenford | Scene | Sun 1 Oct 2017 3:27 pm

The beginning of a calendar quarter always brings numerous regulatory obligations, and October is one of those months with a particularly full set of obligations. All full-power broadcasters, commercial and noncommercial, must complete their Quarterly Issues Programs Lists and place these reports into their public inspection files by October 10. These reports are the FCC’s only official record of how a station served its community. They document the broadcaster’s assessment of the most important issues facing their communities, and the programming that they have broadcast to address those issues. Failing to complete these reports was the biggest source of fines during the last license renewal cycle – with fines of $10,000 or more common for stations missing numerous reports during the license renewal term (see, for example, our articles here, here and here). With the public inspection file for all TV stations now being online and the public file of large radio groups in major markets also already converted to being online, the timeliness of the completion of these reports and their inclusion in the public file can now be assessed by the FCC and anyone else who wants to complain about a station’s regulatory compliance (as documents added to the public file are date stamped as to their inclusion, and the FCC has used this stamp to assess station’s compliance in other areas, see our post here). All other radio stations will be converting to the online file by March 1, 2018 and will need to upload this quarter’s reports into the file by that date (along with all others back to your last license renewal, see our post here), meaning the reports they complete this quarter too can be scrutinized from afar. Thus, be sure that you complete this important requirement.

TV stations have the additional quarterly obligation of filing with the FCC by October 10 their Quarterly Children’s Television Reports, Form 398. These reports detail the educational and informational programming directed to children that the station broadcast in the prior quarter. These reports are used to assess the station’s compliance with the current obligation to broadcast at least 3 hours per channel of programming addressing the educational and informational needs of children aged 16 or younger. Late-filed Children’s Television Reports, too, were the source of many fines for TV broadcasters in the last renewal cycle (see, for instance, our articles here and here), so don’t forget this obligation and don’t be late in making the required filings. At the same time, TV stations should also include in their public file documentation showing that they have complied with the limitations on commercialization during children’s programming directed to children 12 and under.

EEO obligations also arise for stations in a number of states. On October 1, radio and TV station employment groups which have stations located in certain states and have 5 or more full-time employees (at least 30 hours per week) need to place in their public inspection file their Annual EEO Public Inspection File Report. This report documents the employment group’s hiring in the prior year, the recruitment sources they used to attract applicants, and the supplemental efforts they took (whether or not they had any employment vacancies) to educate the community about broadcast employment opportunities and qualifications and the other efforts they undertook to train existing employees about EEO requirements and to qualify them for better positions within the broadcast industry. Even though the FCC outreach efforts for job openings have recently been lessened to allow for recruiting to be done solely through online sources (see our post here), the other EEO obligations remain in place (see our post here). Thus, stations in Alaska, Florida, Hawaii, Iowa, Missouri, Oregon, Washington, American Samoa, Guam, the Mariana Islands, Puerto Rico, Saipan, and the Virgin Islands that are part of an Employment Unit with 5 or more full-time employees should have placed in their public file their Annual EEO Public Inspection File Report by October 1. For those stations with an online public file, that means that the report has been uploaded to the online public file where it can be reviewed by anyone, anywhere (and all other stations will eventually need to include this EEO Public file reports in their online public file by March 1, as all EEO Public File Reports back to the last license renewal must be uploaded to the file). Stations with websites must also include a link to the latest EEO Public File Report on the homepage of their website.

For certain TV stations with 5 or more full-time employees, and certain radio stations with 11 or more full-time employees, October 2 brings the deadline to file their EEO Mid-Term Report, FCC Form 397 (about which we wrote here). That reports provides the FCC with the last two EEO Public File Reports, and certain information about who administers the EEO plan for the station and EEO complaints filed against the station. Radio Station Employment Units with 11 or more full-time employees in Alaska, American Samoa, Guam, the Mariana Islands, Oregon, and Washington and Television Employment Units with five or more full-time employees in Iowa and Missouri must file these reports by October 2.

Full-power and Class A TV Stations repacked by the incentive auction have a new obligation that is coming up –the obligation to file by October 10 a Repacking Transition Progress Report, informing the FCC of steps that they have taken to implement the requirement to change in channels ordered by the FCC. We wrote about that obligation here. That filing obligation comes while the window is open for many of these same TV stations to file construction permits for improved facilities on the channels to which they have been assigned, or to seek alternative channels. The filing window ends on November 2. We wrote about that window here.

As in any other month, there are numerous other regulatory obligations that are ongoing, or particular to an individual station. As we wrote here, AM radio operators who filed for new FM translators in the recent window and found that their applications were in conflict with another applicant have an opportunity to resolve their mutual exclusivity through technical changes or settlements. Broadcasters will also be watching the FCC for the release of other decisions dealing with pending matters including reconsideration petitions on the FCC’s ownership rules (see our posts here, here and here), the elimination of the main studio rule (see our posts here and here), the adoption of ATSC 3.0 (see our post here), and potentially other areas for “modernization” under the FCC’s Modernization of Media Regulation initiative. So make sure that you are keeping your eyes open for regulatory developments that affect your operations.

Andrew Weatherall: Qualia review – sumptuous take on dancefloor solitude

Delivered... Damien Morris | Scene | Sun 1 Oct 2017 8:00 am
(Höga Nord)

Qualia” is a lovely word for the private sensations of experience. Or the private experience of sensations. Either way, it’s an excellent take on the communal solitude of the dancefloor, all of us alone together. Appropriately, where Weatherall’s last album Convenanza was largely expansive and vocal-led, Qualia is more insular and instrumental. Over the last few years, the DJ-producer has been proselytising for slower, lower dance music, but this set goes for a mid-paced, light feel with live-sounding drums, no brass and little bass. Apart from Vorfreude 2’s militant chug, it’s unexceptional. Sumptuous listening, immaculately constructed, but lacking the malevolent heft of his classics.

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Four Tet: New Energy review – hardly true to the title

Delivered... Emily Mackay | Scene | Sun 1 Oct 2017 7:59 am

There are those for whom Kieran Hebden’s drift towards the dancefloor is something to lament, and those for whom it was an unexpected flash of excitement in the subtle folktronica master’s largely super-chilled career. But even for the latter camp, there is a growing suspicion that he’s now best experienced live; this ninth album has the expansive, wandering pleasantness of a self-release unbothered by PR hurly-burly. What it doesn’t have is a great deal of tracks to pull you back, bar perhaps the insistent pulse and fluttering vocal samples of Scientists. The unremarkably housey SW9 9SL tries to up the stakes, but dreamy as the somnolent groove and sitar twinkle of Two Thousand and Seventeen and the nervily upbeat steel pan sounds of Lush are, there’s nothing with the jolting surprise of Kool FM from 2013’s jungle-flavoured Beautiful Rewind, and the album title feels, ultimately, misleading.

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