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Indian E-music – The right mix of Indian Vibes… » 2018 » January » 22


CRB Sets Rates for Public Performance Royalties for Noncommercial Broadcast Stations for Over-the-Air Broadcasting – Rejects GMR Claim for Royalties

Delivered... David Oxenford | Scene | Mon 22 Jan 2018 6:18 pm

The Copyright Royalty Board on Friday published in the Federal Register its decision setting the royalty rates that noncommercial broadcasters will pay to the performing rights organizations for the public performance of musical compositions in over-the-air broadcasting during the period 2018-2022.  The rates reflect settlements between ASCAP, BMI and SESAC and various organizations representing noncommercial broadcasters. The Corporation for Public Broadcasting agreed to one set of rates paid to cover NPR and PBS affiliates. The NRB (the religious broadcasters’ organization) agreed to another set of rates that apply to non-NPR radio stations not owned by colleges and universities, setting out rates that these noncommercial stations pay to each of the three legacy performing rights organizations. For these radio stations, the rates are based on the population served by each noncommercial station. College and university-owned stations can take advantage of a third set of rates, based primarily on the number of students in the school.

Interestingly, the newest PRO, GMR (about which we have written many times in connection with its battles with commercial radio – see for instance our articles here and here), did not file to participate in this proceeding when the proceeding began in early 2016 (see our article here on the commencement of the proceeding). The settlements approved by the CRB recognized that there may be some songwriters and publishers who are not members of ASCAP, BMI and SESAC but have music that is played on the air. A $1 fee to cover this unaffiliated music was provided in the settlement agreements. Only after these settlements were fully negotiated, filed with the CRB for approval, and published in the Federal Register as required by applicable law (well after what would otherwise have been the time for the litigation over the royalty rates had there been no settlements), GMR objected arguing that it should have been allocated royalties equal to those that SESAC is to receive. In the order published in the Federal Register on Friday, the GMR claim was rejected as being barred by the Copyright Act which effectively prohibits organizations from sitting back and ignoring a proceeding until the very last moment. Only “parties” to a proceeding, those that had timely participated in the case, are entitled under the law to object to a settlement and offer alternative proposals. Thus, for the five year period for which these royalties are in effect, this decision settles what the noncommercial broadcaster pays for the public performance rights to musical compositions for over the air broadcasts.

Kickblast makes kick drum sounds for you, free, powered by Csound

Delivered... Peter Kirn | Scene | Mon 22 Jan 2018 3:44 pm

There’s a classic fairy tale in which elves make shoes during the night for a shoemaker. Imagine that, but with kick drum sounds.

The last time we caught up with Micah Frank, he was sharing free software that generates rhythms for you:

Leave this free software running, and it’ll come up with rhythms for you

It’s all built using a classic free and open source software tool called Csound – a tool so rooted in digital music history, it has a direct lineage to the very first real computer music synthesis software created by Max Mathews back in 1957. That may seem archaic, but Csound remains simple, direct, and musical – which is how it has endured.

With Micah’s tool, you can set the software in motion and use your ears to choose what you like – going as deep (or not) as you want in the mechanics of those sounds. He writes:

Kickblast is a little tool I built for quickly generating electronic kick drums. It will create a variety of sounds from classic 909-esque sustained basses, to modular and even acoustic sounding kick drums. You can define the parameters and how many kicks you wish to generate. It also has offline rendering capabilities so you can instantly populate a folder full of 17 billion* kick drums if you like.

* if you attempt this quantity, please let me know how it works out

Here’s what you can expect as far as sounds:

How to get going:

Kickblast is a Csound program that populates a folder full of computer (Csound) generated bass drums.

github.com/chronopolis5k/Kickblast

1) All you need is Csound: csound.com/download.html CsoundQT comes with Csound and will enable you to run Kickblast.

2) Once installed, open the Kickblast.csd file and hit “Render” for offline file generation or “Run” for real-time.

3) You can define a number of parameters up in the top section, including how many kick drums you wish to generate.

4) The folder which contains the Kickblast.csd will become populated with your kick drums.

There’s no need to get bored with kick drums. Billions of possibilities await. Let us know if you make something you love.

The post Kickblast makes kick drum sounds for you, free, powered by Csound appeared first on CDM Create Digital Music.

THE WIRELESS FESTIVAL LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Mon 22 Jan 2018 2:15 pm
J. Cole, Stormzy and DJ Khaled all headline! Post Malone, Partynextdoor, Migos, Jhus, Rae Sremmurd and Lil Uzi Vert are also in!

THE TOMORROWLAND LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Mon 22 Jan 2018 2:15 pm
Axwell Λ Ingrosso, Armin van Buuren, Charlotte De Witte, Hardwell, Netsky and Rezz are all in! More acts were announced with more to come!

Sampling Stories Vol. 14: Olivia Louvel

Delivered... Hannes Liechti from Norient | Scene | Mon 22 Jan 2018 7:00 am

It was early 2016 when female:pressure launched their #rojava campaign. With a bundle of tracks, a Bandcamp compilation, videos, discussions, and more, the international network of female, transgender, and non-binary artists in the fields of electronic music and digital arts aimed to raise awareness around the resistance movement taking place in the cantons of Rojava in Northern Syria. Here, we meet sound artist Olivia Louvel who has done an audiovisual piece for this project. How does one approach such a project? What role does sampling play? And what kind of ethical questions do arise?

Olivia Louvel (Photo © by the artist)

It was especially the participation of women «on all levels of decision making and building a new society from scratch, with built-in social, racial and ethnic justice, religious freedom, ecological principles and gender equality» (vimeo page Olivia Louvel) that motivated Antye Greie-Ripatti aka AGF from female:pressure to curate this project with artists such as Louvel. It was only in March 2016 that the Democratic Federation of Northern Syria (DFNS) had been declared and still today, after the defeat of the Islamic State, Rojava’s status is as a de facto autonomous region. These days, news from the region are hard to find, see here for a short discussion of the actual situation.

Drill Ground Athmosphere

But let us now go back to the end of 2015, when the project was being curated and Olivia Louvel was working on her submission, the audiovisual track «Afraid of Women» (see video below). The French and now Brighton-based artist approached the project by sampling sounds from TV documentaries on the Rojava region and the women fighters. [1] The track comes along as a sound collage. We hear stomping boots, shortly after another repeated samples (triggered with Ableton’s «Beat Repeat» effect) and shouts. (The voices seem to be shouting «Stop it!» but in fact that’s not what they shout. Louvel took that piece of a Kurdish voice exactly because of this similarity.) Then the sound of the fighters arming their weapons establishes rhythmical landmarks and more voices pop up and fade out. All of this lets the listener experience some sort of drill ground atmosphere. Sampled voices are of great importance in Louvel’s sound work generally, and especially in this track: «it was about giving those women a voice so I had to use their voices obviously», she reports in the interview.

Closed Doors at BBC Radio 3

Louvel even uses her own voice in the piece (the whispered parts in the first half of the track, used as introduction), a strategy of appropriating the sampled material: «I am making my own object out of all these objects.» Talking about voice, another relative topic comes up: language. When choosing the samples to work with for the sound collage this was a crucial factor: «First there was a necessity to use the voice in English because I wanted people to be able to understand», Louvel explains. She could then only use English or over-voiced quotes. In the end (2:47) a quote turns from English to Kurdish: «finally, I wanted their real language to be in the track.» Interestingly, it was exactly this part that had to be cut when BBC broadcasted the track on «Late Junction». Louvel remembers how this came about: «I did not have an exact translation of the Kurdish voice on the track’s last minute. BBC have some regulations especially when it is a language that sounds Arabic and so they could not play the last part. They were probably worried it might contain a message of hate or something like that.» This is an example where the sampling of certain material directly influenced the track’s further distribution.

«The Purpose Was not to Make some New Music»

A project like that could raise a bundle of ethical questions: why is a sound artist who has never been to Rojava, and has no closer connection to the context, sampling such material? How does the artist legitimate this act? Is the track glorifying fighting women? Is such a project in the end even glorifying war? «I did not censor myself», Louvel remembers the production process: «I just basically went onto the Internet and took the material that I thought was right for the project. I just took it, grabbed it, and then made it mine.» All these questions above that a critical listener or researcher could come up with did appear only later: «We didn’t want to sort of glorify women with weapons and so we were suddenly worried that it was going to be perceived like that.» After discussing these questions and getting positive feedback from project curator AGF and even from a Rojava activist, [2] they were finally convinced to publish the track. Louvel is making a point in underlining the original motivation: «At the end there was a purpose. The purpose was not to make some new music, it was to give those women a voice.» The money, generated with this project, was all funded to a London-based association of Rojava women. [3] That is especially important to know when studying the power relations behind this process of sampling. But finally, Louvel emphasizes the importance of the moment when creating such a project:

What is my legitimacy in appropriating those documentaries, working from found footage to make an audiovisual about these women in Rojava? I had a similar approach for the project «o, music for haiku» using haiku by Japanese poet Basho even though I have never been to Japan… and I certainly do not speak Japanese. I used the material as a texture, composing with it. It is not my primary concern, if people think I should not be doing that. My approach is spontaneous. I am driven to talk about it so I just do it. I start on impulse… and then I question it, afterwards.

#Rojava – the Compilation

References

[1] In the credits of both video and track Olivia Louvel acknowledges the following sources: BBC News, Günther Steinmeier, Russia Inside, PBS NewsHour.

[2] The activist with the pseudonyme Hevî («Hope» in Kurdish) took part on a panel about the project at CTM Festival in Berlin 2016. More information here.

[3] Browsing the web there is only little information on the purpose of the funding. On the video’s vimeo page («Afraid of Women») and the female:pressure site a project of Rojava women is mentioned that aims to build a women’s village on location called «The Village Project». Unfortunately, all mentioned web addresses are not available (anymore).

The interview was conducted via Skype, 15.11.2017. This article has been published in the context of the PhD research on sampling in experimental electronic music by Hannes Liechti. For more info click here.

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