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


Delivered... Spacelab - Independent Music and Media | Scene | Fri 1 Dec 2017 7:00 pm
THE ELECTRIC FOREST LINEUP IS OUT! The String Cheee Incident, Bassnectar, GRiZ Live Band, RÜFÜS DU SOL and Zhu all headline BOTH weekends! Also Galantis, Marshmello and deadmau5 alias Test Pilot!

MusicMakers Hacklab Berlin to take on artificial minds as theme

Delivered... Peter Kirn | Scene | Fri 1 Dec 2017 6:42 pm

AI is the buzzword on everyone’s lips these days. But how might musicians respond to themes of machine intelligence? That’s our topic in Berlin, 2018.

We’re calling this year’s theme “The Hacked Mind.” Inspired by AI and machine learning, we’re inviting artists to respond in the latest edition of our MusicMakers Hacklab hosted with CTM Festival in Berlin. In that collaborative environment, participants will have a chance to answer these questions however they like. They might harness machine learning to transform sound or create new instruments – or even answer ideas around machines and algorithms in other ways, through performance and composition ideas.

As always, the essential challenge isn’t just hacking code or circuits or art: it’s collaboration. By bringing together teams from diverse backgrounds and skill sets, we hope to exchange ideas and knowledge and build something new, together, on the spot.

The end result: a live performance at HAU2, capping off a dense week-plus festival of adventurous electronic music, art, and new ideas.

Hacklab application deadline: 05.12.2017
Hacklab runs: 29.1 – 4.2.2018 in Berlin (Friday opening, Monday – Saturday lab participation, Sunday presentation)

Apply online:
MusicMakers Hacklab – The Hacked Mind – Call for works

We’re not just looking for coders or hackers. We want artists from a range of backgrounds. We want people to wrestle with machine learning tools – absolutely, and some are specifically designed to train to recognize sounds and gestures and work with musical instruments. But we also hope for unorthodox artistic reactions to the topic and larger social implications.

To spur you on, we’ll have a packed lineup of guests, including Gene Kogan, who runs the amazing resource ml4a – machine learning for artists – and has done AV works like these:

And there’s Wesley Goatley, whose work delves into the hidden methods and biases behind machine learning techniques and what their implications might be.

Of course, machine learning and training on big data sets opens up new possibilities for musicians, too. Accusonus recently explained that to us in terms of new audio processing techniques. And tools like Wekinator now use training machines as ways of more intelligently recognizing gestures, so you can transform electronic instruments and how they’re played by humans.

Dog training. No, not like that – training your computer on dogs. From ml4a.

Meet Ioann Maria

We have as always a special guest facilitator joining me. This time, it’s Ioann Maria, whose AV / visual background will be familiar to CDM readers, but who has since entered a realm of specialization that fits perfectly with this year’s theme.

Ioann wrote a personal statement about her involvement, so you can get to know where she’s come from:

My trip into the digital started with real-time audiovisual performance. From there, I went on to study Computer Science and AI, and quickly got into fundamentals of Robotics. The main interest and focus of my studies was all that concerns human-machine interaction.

While I was learning about CS and AI, I was co-directing LPM [Live Performers Meeting], the world’s largest annual meeting dedicated to live video performance and new creative technologies. In that time I started attending Dorkbot Alba meet-ups – “people doing strange things with electricity.” From our regular gatherings arose an idea of opening the first Scottish hackerspace, Edinburgh Hacklab (in 2010 – still prospering today).

I grew up in the spirit of the open source.

For the past couple of years, I’ve been working at the Sussex Humanities Lab at the University of Sussex, England, as a Research Technician, Programmer, and Technologist in Digital Humanities. SHL is dedicated to developing and expanding research into how digital technologies are shaping our culture and society.

I provide technical expertise to researchers at the Lab and University.

At the SHL, I do software and hardware development for content-specific events and projects. I’ve been working on long-term jobs involving big data analysis and visualization, where my main focus for example was to develop data visualization tools looking for speech patterns and analyzing anomalies in criminal proceedings in the UK over the centuries.

I also touched on the technical possibilities and limitations of today’s conversational interfaces, learning more about natural language processing, speech recognition and machine learning.

There’s a lot going on in our Digital Humanities Lab at Sussex and I’m feeling lucky to have a chance to work with super brains I got to meet there.

In the past years, I dedicated my time speaking about the issues of digital privacy, computer security and promoting hacktivism. That too found its way to exist within the academic environment – in 2016 we started the Sussex Surveillance Group, a cross-university network that explores critical approaches to understanding the role and impact of surveillance techniques, their legislative oversight and systems of accountability in the countries that make up what are known as the ‘Five Eyes’ intelligence alliance.

With my background in new media arts and performance and some knowledge, in computing I’m awfully curious about what will happen during the MusicMakers Hacklab 2018.

What fascinating and sorrowful times we happen to live in. How will AI manifest and substantiate our potential, and how will we translate this whole weight and meaning into music, into performing art? It going to be us for, or against the machine? I can’t wait to meet our to-be-chosen Hacklab participants, link our brains and forces into a creative-tech-new – entirely IRL!

MusicMakers Hacklab – The Hacked Mind – Call for works

In collaboration with CTM Festival, CDM, and the SHAPE Platform.
With support from Native Instruments.

The post MusicMakers Hacklab Berlin to take on artificial minds as theme appeared first on CDM Create Digital Music.

Magistrate Rules RMLC Suit Against GMR Should Not Be Litigated in Pennsylvania – What Does that Mean for Radio Companies?

Delivered... David Oxenford | Scene | Fri 1 Dec 2017 6:30 pm

Yesterday brought news that a Federal Magistrate issued a ruling (a 42 page order discussing fine points of law) deciding that the antitrust lawsuit brought by RMLC against GMR should not be tried in the Pennsylvania court where the suit was brought. As we wrote here, RMLC (the group that represents many commercial radio operators in music licensing matters) had argued that GMR (a relatively new organization representing songwriters in licensing music use as do ASCAP, BMI and SESAC) was acting in violation of the antitrust rules by trying to license music from a number of songwriters at prices well in excess of the amount that corresponded to these artists’ share of radio airplay. GMR seemingly retaliated by suing RMLC in a Los Angeles court, arguing that RMLC itself violates the antitrust laws by functioning as a buyer’s cartel unifying music licensing buyers against these songwriters (see our article here). Since these dueling suits were filed, the parties have been fighting over where this case should be heard.

RMLC had brought their case in Pennsylvania both because a number of RMLC members operate in Pennsylvania and because RMLC had obtained a favorable result in that court in similar litigation against SESAC, leading to the arbitration process that substantially decreased the rates that the commercial radio industry pays to that organization (see our article here). GMR sued in California as it is headquartered there, and presumably thought that it might get a bit of a “home court advantage” by trying a case in a state a bit more disposed toward content creators. So what does the decision yesterday mean?

First, it is only a preliminary ruling, with RMLC last night announcing that it intended to file an appeal of the decision. A magistrate judge in the Federal Court system, like the one who made this decision, is essentially an assistant judge appointed by US District Courts to assist the District Court judges in resolving the many legal issues that arise in cases being litigated in these District Courts. The actual trial of the case is held before the District Court Judge, and that Judge can overrule decisions of the magistrates. So RMLC is asking for review by the District Court judge assigned to this case.

But this decision highlights that, no matter what happens, there does not appear to be any quick resolution of the GMR/RMLC battle in sight. The magistrate’s decision contains a litany of charges and countercharges between the parties, indicating there is still much dispute, though it also mentions that there have been numerous meetings between GMR and RMLC representatives, though there is no indication of whether any of these meetings have made any substantial progress in resolving the issue of the appropriate royalties to be paid to GMR by the radio industry. Even if the District Court judge determines that the case should proceed in Pennsylvania, it appears that there has been little discovery undertaken while the procedural issues have been fought, so any trial and decision is likely a long way off. If the litigation moves to California, that court would have to start fresh in its consideration of the RMLC issues.

As we wrote here, the interim license agreement that GMR has offered to broadcasters runs through March 2018. Given the state of the litigation, it would not be surprising if additional interim deals are necessary before this matter is ultimately resolved.

A New Norient Is in the Fabric

Delivered... norient | Events,Scene | Fri 1 Dec 2017 2:11 pm

We have decided to skip the next Musikfilm Festival in January 2018. But a lot of interesting work is going on in the background. Read here a short statement from the Norient editorial board about the cancelation (deutsche Version hier). The next festival edition will take place between January 10 and 13 2019. If you want to submit your film to the festival crew, you can already do that via email.

It was a tough decision. When our website crashed last year, we realised how fragile our system is. Norient is composed of a very small team, but is supplied and energized by a huge network of musicians, journalists, bloggers, filmmakers, artists and scholars from around the world.

In these turbulent times, the Norient crew want to strengthen our precious network and improve the quality of our work. We want to make space for innovation and creativity. And we want to continue looking for exciting music, sounds and noises around the globe. To be able to do that, we need time. Time for research, and time for exchange, from Durban to Karachi. If we want to survive into the future, we need to strengthen our basis.

These are the tasks we set ourselves for the coming months. We’re working on a new Norient, and we’re looking forward to presenting it to you in the course of the next year. Fresh and transformed, Norient will host the 9th Musikfilm Festival in January 2019. Save the date! January 10-13 2019.

You’ll be hearing from us. And you’ll see us again, in our new look and in our old location at Reitschule Kino in Bern. And probably also in Lausanne and St. Gallen. Let us know what you think! We’re looking forward to seing you soon!

Norient wird das Musikfilm Festival im Januar 2018 aussetzen. Dieser Entscheid ist uns nicht leicht gefallen. Der kurzzeitige Absturz unserer Webseite im vergangenen Jahr führte uns vor Augen, wie fragil unser System ist. Norient besteht aus einem sehr kleinen Team, wird aber aus einem riesigen Netzwerk von Musikern, Journalistinnen, Bloggern, Filmemacherinnen, Künstlern und Forscherinnen aus der ganzen Welt gespeist.

Das Norient-Team will sein wertvolles Netzwerk in diesen turbulenten Zeiten stärken und die Qualität seiner Arbeit erhalten – und vor allem auch verbessern. Wir wollen Innovation zulassen, Raum für Kreativität schaffen und weiterhin in der Lage sein, spannende Musik, Klänge und Lärm auf dem Globus aufzuspüren. Dazu braucht es Zeit für Recherche, Zeit für den direkten Austausch von Durban bis Karachi. Damit wir auch in der Zukunft bestehen können, müssen wir unser Fundament stärken.

Diesen Aufgaben werden wir uns in den nächsten Monaten widmen. Hinter den Kulissen arbeiten wir intensiv am neuen Norient, den wir euch im kommenden Jahr präsentieren wollen. Frisch und transformiert, wird Norient das 9. Musikfilm Festival im Januar 2019 souverän stemmen. Die Daten für eure Agenda: 10. bis 13. Januar 2019.

Ihr werdet also von uns hören, im neuen Kleid, an gewohnter Stelle, im Kino der Reitschule Bern und wahrscheinlich auch wieder in Lausanne und St. Gallen. Wir sind gespannt auf eure Reaktionen und freuen uns auf euch!

We Reviewed Mark Fell’s Artistic Mini-Festival In Portugal

Delivered... By Lisa Blanning | Scene | Fri 1 Dec 2017 11:10 am

The post We Reviewed Mark Fell’s Artistic Mini-Festival In Portugal appeared first on Telekom Electronic Beats.

Cross-Platform Modular Tracker App, Sunvox, gets yet another big update with AudioBus MIDI and more

Delivered... Ashley Elsdon | Scene | Fri 1 Dec 2017 12:43 am

If you don’t know Sunvox, then let me start by saying that it is one of the most cross platform apps I know of. It runs on iOS, Android, macOS, Windows, Windows Mobile (not the current version of Sunvox, to be clear), and there’s even an old version that runs on Palm OS. In fact I’ve probably missed off a couple of platforms too. But to illustrate my point …

Whilst nosing around Alex’s site I found a few more pictures that I liked, such as this one. Can you name the Palm OS PDA in the picture?

And finally, this picture, which is a personal favourite, mainly as I took it, in a pub, on the way home one evening, and had a very pleasant time with my Dell Axim Windows Mobile PDA and Sunvox.

Anyway, Sunvox has been around for a while now, and is the brain child of Alexander Zolotov who has also brought us amazing app such as Virtual ANS, PixiTracker, and Quantum VJ HD. He’s also branched out into hardware more recently with Quantum VJ and DJ. If that wasn’t enough he’s also created a programming language called PixiLang too.

But rather than try to tell you about everything all in one go, for now I’ll limit myself to a letting you know what’s in version 1.9.3b of Sunvox. So, here’s what’s new:

  • iOS 7 support has been dropped;
  • Audiobus 3 support (with MIDI);
  • sound engine optimization;
  • MIDI IN options has beed added to the Module Properties: here you can change the MIDI IN channel and the mode (receive MIDI commands “when the module selected” or “always”);
  • the biggest Sampler update since 2008;
  • Sampler: click removal algorithm (between two notes on the same channel, or during the sharp note cutoff);
  • Sampler: added four new envelopes to control the effect (with polyphony support), which is one of the built-in SunVox modules; so you can choose almost any SunVox module (for example, Filter or MetaModule), and it will be stored inside the Sampler;
  • Sampler: new option “Ignore velocity for volume”;
  • Sampler (sample editor): new loop parameter – Sustain; when enabled, loop will be finished after the Note OFF;
  • Sampler (sample editor): deeper zoom;
  • Sampler (sample editor): Crossfade Loop effect has been added into the menu;
  • Sampler (envelope editor): unlimited envelope length, unlimited number of envelope points;
  • Sampler (envelope editor): point info display has been added; press it to show/hide the additional buttons for precise point control;
  • Sampler (envelope editor): new envelope parameters: Gain, Velocity influence;
  • Sampler (envelope editor): new envelopes: Pitch, Effect Controller;
  • MetaModule: new option “Event output”; when enabled, the MetaModule can output events (Note ON/OFF, Set Pitch, etc.) from the internal Output module; see the examples metamodule_arpeggiator3/4;
  • MetaModule: effect 07 (set sample offset by percentage) is now supported too; you can use it to jump to the specified location within the MetaModule-project;
  • MetaModule: new mode “play without repeat” has been added to the “Play patterns” controller;
  • Filter, Filter Pro, Flanger, LFO, Vibrato: current LFO phase is visible now (on the “Set phase” controller);
  • Filter, Filter Pro, Flanger, LFO, Vibrato: the incoming notes (Note ON commands) reset the LFO phase to “Set phase” value;
  • MultiSynth: new option “Trigger” (ignore Note OFF commands; the new note turns off the old note with the same pitch);
  • MultiSynth: new controller “Curve2 influence” (mix between the linear (default) and the user-drawn curve2);
  • Reverb: new controller “Random seed”;
  • LFO: new controller “Generator” (always generate a signal, even if the input is empty);
  • LFO: triangle waveform;
  • Pattern Editor: new function “Place evenly” (place events evenly in the selected area);
  • new project parameter – “Time grid2” (the higher-level grid, number of time grid cells);
  • “Randomize controllers” can now be canceled through the UNDO;
  • lists of the recent files and folders have been added to the file browser; you can disable it in the Preferences -> Interface;
  • “Resize” button has been added to the musical keyboard in the file browser (when the Preview is enabled);
  • Preferences -> Main: new button “Log” (show/save SunVox log);
  • Preferences -> Interface: new option “Zoom buttons” (hide/show zoom in/out buttons);
  • Preferences -> Interface -> Color theme: ability to manually adjust the four primary colors (c_0, c_1, c_2, c_3);
  • new instruments and effects (see the folders instruments and effects);
  • new examples: NightRadio – Reach for the Stars, Transient – Can It Be Beautiful;
  • new simple examples: sampler effect envelopes, metamodule_arpeggiator3, metamodule_arpeggiator4;
  • user manual update: http://www.warmplace.ru/wiki/doku.php?id=sunvox:manual_en;
  • bug fixes: note hang in Glide, broken virtual MIDI IN port in iOS, problems with Wi-Fi Export/Import, etc.

Sunvox is on the app store now and costs $5.99:

The post Cross-Platform Modular Tracker App, Sunvox, gets yet another big update with AudioBus MIDI and more appeared first on CDM Create Digital Music.

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