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Indian E-music – The right mix of Indian Vibes… » 2017 » October » 08


SynthScaper 1.2 takes experimentation even further

Delivered... Ashley Elsdon | Scene | Sun 8 Oct 2017 9:21 pm

SynthScaper is one of a number of more experimental sound apps from iMusicAlbum. As with the other apps in this series like FieldScaper and SoundScaper, each update brings a range of new experimental possibilities for you. This version of SynthScaper supports loop points and note/pitch info in wav files that gives you possibility to use a lot of ready loops from third-party samples libraries.

What’s more it includes new scenes, presets and samples, which is always useful in my opinion, with having an idea of how things work inside an app, especially in more experimental apps. It also supports loop points and note info in wav files. A low pass ladder filter and low pass distortion filter have been added in this version, as have mode 12/24 db for LP, HP, BP, BS filters.
There’s now a parameter to “Smooth” for LP and HP filters, and also a new parameter “Drive” for BP and BS filters.

There’s a few more new bits and pieces, here’s a quick run down …

  • Addition working mode for envelope generator.
  • MIDI control for sustain pedal.
  • MIDI controls for changing scenes.
  • Improved pitch / modifier on screen keyboard.
  • Built-in description updated.

And of course, no update would be complete without the obligatory range of bugs being fixed.

SynthScaper is an unusual application that’s great if you’re into more experimental sounds. If that’s you, then you should probably also check out FieldScaper and SoundScaper too, as I think they might be right up your street too.

SynthScaper costs $14.99 on the app store now:

The post SynthScaper 1.2 takes experimentation even further appeared first on CDM Create Digital Music.

Symphony Pro 5 is taking notation to the next level in iOS

Delivered... Ashley Elsdon | Scene | Sun 8 Oct 2017 5:30 pm

Notation has been around for a while on iOS and has been very useful to anyone who has a need for scoring. Symphony Pro has been around for 6 years now and has been continuously developed as an all round solution for notation on an iPad. In its latest incarnation Symphony Pro has really taken notation to the next level with support for the Apple Pencil for both writing & editing. What’s more it also now supports writing with touch and capacitive stylus. This is now the only paid feature in Symphony Pro, and this upgrade is a one-time purchase with free updates in the future.

Symphony Pro can now instantly convert pen strokes into all fundamental note objects, including stems, rests, beams, ties, and augmentation dots. The app can lasso a selection of notes and other musical elements.

Also in Symphony Pro 5 the basic instrumentation of the app has been updated. I never thought it was too bad in the first place, but now it boasts professionally sound-designed replacements to 36 of the orchestral, wind, and drum set instruments, as well as the piano. The latest version also sports improved expression playback, including tremolo, trill, glissando, crescendo, and more.

Whilst I appreciate the complexity of notation and just how this app has developed, I have to admit that some of it is lost on me. The latest version also introduces customize Rehearsal Mark text. You can now just double-tap the label in the score, then choose Edit Section Text.

There’s even more in this version. but without going into detail. Here are the headlines:

  • Score layout & Notation
  • Gesture Shortcuts for Touch & Apple Pencil
  • Score Symbols
  • Part Management
  • iPhone Universal app
  • Qwerty Keyboard Shortcuts & Accessibility
  • Drum Set Notation
  • Configure Meter & Customize Beam Groups
  • Tablature

Symphony Pro 5 costs $14.99 on the app store now:

The post Symphony Pro 5 is taking notation to the next level in iOS appeared first on CDM Create Digital Music.

ThumbJam gets the AudioBus 3 treatment in version 2.6

Delivered... Ashley Elsdon | Scene | Sun 8 Oct 2017 4:30 pm

ThumbJam is an amazingly popular app that’s been a favourite of users in education and disability arts since it first arrived in 2009. Since then it’s had fairly regular updates and continues to respond to the requests of users. ThumbJam provides users with a highly expressive and configurable instrument that can be used to perform in almost any context. Here’s what’s new in version 2.6.

– Added Audiobus 3 support, including MIDI Filter for Scale Lock, and with individual MIDI receive/senders (per instrument slot)
– Added CC bindings for Delete Last Loop (CC 76), and Delete All Loops (CC 77)
– Added support for iPhone X, because why not

– Fixed possible crash on opening create instrument
– Preserve manual setting of live audio monitor setting when connected in an Audiobus output slot
– Make audio input monitoring button work the first time
– Fixed midi sysex handling bug causing potential crashes
– Fixed continuum mode midi output

If you don’t know ThumbJam then now is a very good time to get acquainted with this versatile app. You’ll be really quite amazed with what can be achieved with one simple app.

ThumbJam costs $8.99 on the app store now:

The post ThumbJam gets the AudioBus 3 treatment in version 2.6 appeared first on CDM Create Digital Music.

Gary Numan: how the Billboard charts told him his tracks aren’t electric

Delivered... Dave Simpson | Scene | Sun 8 Oct 2017 4:00 pm

Despite 95% of the instrumentation on Numan’s new album being electronic, the US chart company says it does not qualify for their dance/electronic countdown

Gary Numan is one of the most famous creators of electronic music. Since 1979, when his band Tubeway Army’s single Are ‘Friends’ Electric?a song about a robot sex worker – spent four weeks at No 1, he has been routinely described as an “electronic pioneer” and a Google search for “Numan electronic” produces 526,000 results.

However, this doesn’t satisfy US chart company Billboard, who have decreed that his new album, Savage (Songs From A Broken World), does not qualify for their dance/electronic chart, even though 95% of it was produced by electronic instruments. According to producer Ade Fenton, Savage’s 51 channels of synthesisers and electronic drums make it the “most electronic” of the four albums he and Numan have worked on. However, the album’s classification as rock/alternative means that Numan has missed out on an almost certain dance/electronic No1, instead having to settle for a rather more lowly rock/alternative No 22.

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Moses Sumney: ‘I have an obsession with loneliness, singledom, isolation’

Delivered... Kate Hutchinson | Scene | Sun 8 Oct 2017 10:00 am
It’s impossible not to love the genre-spurning singer with a heavenly falsetto – despite his ‘obnoxious obsession’

Of the many striking aspects of Moses Sumney – his skyscraping height, his hallucinatory, Nina Simone-like dreamscapes, his Rolodex of starry musician friends – most intriguing of all is his voice. A feathery falsetto, often layered to celestial effect, it flutters daintily over lambent guitar and sweeping strings. It’s surely the reason that Sufjan Stevens and James Blake asked him to join them on tour. Or why Beck chose Sumney to appear on his covers compilation, Song Reader; ditto Solange Knowles, for last year’s epic A Seat at the Table. As he explains one evening in a restaurant in Echo Park, Los Angeles, sometimes singing to him “feels like dancing”.

There is plenty of vocal pirouetting on his debut, Aromanticism, an album that shades in the grey between folk, soul and something else – something otherworldly – entirely. So it’s surprising to hear that his soft style stems from being so shy in his school days that he would “sing under my breath a lot”. At 10, his pastor parents moved from California, where he was born, to Accra in Ghana, where his fellow students would mock his American accent. It kickstarted what he calls “an almost obnoxious obsession with loneliness, singledom, isolation…”, which has permeated his music ever since.

Related: Moses Sumney: Aromanticism review – a single-minded star

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High Contrast: Night Gallery review – muscular rhythms, winning melodies

Delivered... Damien Morris | Scene | Sun 8 Oct 2017 8:00 am
(3 Beat/Universal)

Lincoln Barrett pushes himself further out of his drum’n’bass comfort zone on this sixth High Contrast album, with varying results. Disconcerting glam call-to-arms Shotgun Mouthwash (which puts forward the uncontroversial proposition that the former is “a good substitute” for the latter) doesn’t quite succeed, but on the marvellous, audacious Tobacco Road he effectively invents drum’n’blues. Barrett’s latest shot for the charts, The Beat Don’t Feel the Same, is tepid Chic-ish house, yet the previous single, Questions, is a glorious success. The best songs are smart, bassy takes on EDM, blending muscular rhythms and winning melodies reminiscent of Barrett’s anthemic Adele remixes.

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Kaitlyn Aurelia Smith: The Kid review – a charming electronic exploration of life

Delivered... Kitty Empire | Scene | Sun 8 Oct 2017 6:59 am
(Western Vinyl)

Kaitlyn Aurelia Smith’s last album, 2016’s EARS, was a suite essentially about wonderment. The one before, Euclid (2015), took its inspiration from geometry. Dry summaries like those don’t really do justice to the swirls and whorls of the LA-based musician’s electro-acoustic work. Here, Smith tracks the life of a person from twinkle in the eye to autonomous being contemplating life’s end; the journey’s emotional arc is conceived as four sides of a double album. To say that the title track sounds like she has trapped some analogue synths and a choir in a washing machine means no disrespect. This album is crammed with tweeting electronics, hydraulic rhythms, sleights of hand and Smith’s own backseat vocals; she hints at non-western forms and systems music, but never so you are not charmed.

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