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Indian E-music – The right mix of Indian Vibes… » 2018 » January » 24


Ampify Novation adds a lovely new member to the Groovebox Synth Family

Delivered... Ashley Elsdon | Scene | Wed 24 Jan 2018 11:33 pm

Groovebox is an interesting app. On the one hand it has a major appeal to completely new users who are looking to start making electronic music on their phones. It’s a good place to start. You can get going almost immediately with no previous musical experience or learning.

But that’s not all. You can do lots more. In amongst its IAPs Groovebox has some very advanced features which would appeal to anyone who is familiar with regular synth and sound design concepts. From that stand point it’s usable for a beginner and a seasoned user. There aren’t many apps you can say that about.

Today Ampify Novation have added a new member to the Groovebox synth family. MiniMon is a contemporary synth for punchy bass riffs and rich detailed leads. It has powerful wavetable modulations generate a broad spectrum of inspiring sounds. The free MiniMon Essentials 1 soundpack includes 20 presets and over 100 patterns.

Also in this release is the ‘Pro Features Collection’, in which you can get all four Groovebox instruments in one easy-to-get bundle.

Groovebox is free on the app store (with IAPs)

The post Ampify Novation adds a lovely new member to the Groovebox Synth Family appeared first on CDM Create Digital Music.

What Issues Should Broadcasters be Considering When Taking Advantage of New Rules Abolishing Main Studio and Staffing Requirements?

Delivered... David Oxenford | Scene | Wed 24 Jan 2018 6:25 pm

The FCC this week published a Small Business Compliance Guide for companies looking to take advantage of the FCC’s elimination of the main studio rules and the studio staffing requirements associated with those rules (see our articles here and here summarizing the rule changes). The Compliance Guide points out that stations looking to eliminate their main studios still must maintain a local toll-free telephone number where residents of the community served by the station can call to ask questions or provide information to the licensee. The Guide also references the requirement that access to the public file must be maintained. While, by March 1, all broadcast stations (unless they have obtained a waiver) will have their public files online (see our article here), it is possible that some stations may have a remnant of their file still in paper even after the conversion date. “Old political documents” (documents dealing with advertising sales to candidates, other candidate “uses,” and issue advertising) that were created before the date that a station activates its online file for public viewing need not be uploaded but can be kept in a paper file for the relevant holding period (generally two years). If the station decides not to upload those old political documents, or closes its main studio before they have gone live with their online public file, they will need to maintain a paper file in their community of license. The Guide also mentions how Class A TV stations, which are required to show that they originate programming from their local service area, will be treated since they will no longer have a legally mandated main studio. But are there questions that the Guide does not address?

We think that there are, and that broadcasters who are considering doing away with their main studio need to consider numerous other matters. First, and most importantly, the obligation for a station to serve its local community with public interest programming remains on the books. So stations need to be sure that they are staying in touch with the local issues facing their communities, and they need to address those issues in their local programming. Addressing these issues needs to be documented in Quarterly Issues Programs lists which are the only legally-mandated documents that demonstrate how a station has served its community. There are other issues to consider as well.

Stations need to notify the FCC if they are being controlled from a location other than their transmitter or main studio locations. So, if there is no main studio, and no one is physically at the transmitter site, the FCC needs to be notified of the remote control location for the station.

EAS still needs to be monitored for the local area served by the station so the station can originate and rebroadcast required EAS tests, and respond in the event of a real emergency. The station still is required to have a chief operator designated in writing, and that operator must routinely review station logs and certify certain operational requirements for the station, including the monitoring of tower lights. A station log needs to be maintained and produced when requested by the FCC – containing information about EAS tests, tower light monitoring, and any deviations in operation of the station from the authorized parameters specified by the station license.

Obviously, stations also need to monitor and respond, if appropriate, to complaints about their operations, particularly technical complaints about the station not operating in compliance with its licensed facilities. And they need to be ready to respond to requests for political advertising time from local candidates, especially Federal candidates, because all commercial stations have an obligation to give Federal candidates reasonable access to all classes and dayparts of time on a station – even if that station has no local studio or local employees.

There are certainly may be other issues that are not on this list. But this list makes clear that a licensee can’t just close its main studio and get rid of all of its local employees and ignore its community. There are still has many FCC obligations that require licensees keep in touch with what is going on at their stations and in their local service areas. So discuss these issues with counsel and engineering consultants to make sure that you won’t miss anything when taking advantage of these rule changes.

THE MOVEMENT MUSIC FESTIVAL LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Jan 2018 6:00 pm
Claude Von Stroke, Loco Dice, The Martinez Brothers and Wu-Tang all headline!

THE IN BLOOM MUSIC FESTIVAL DAY LINEUPS ARE OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Jan 2018 5:00 pm
Find out who's playing on what day and how to get day tickets.

Debate: Bedroom Producer

Delivered... norient | Scene | Wed 24 Jan 2018 8:00 am

In the 21st century, the world’s musical hits and trends are often created in bedrooms, where musicians exchange files online without meeting and jamming together. Therefore we asked people from the Norient network: can a bedroom producer change the world? A virtual debate from the Norient exhibition Seismographic Sounds (see and order corresponding book here).

Bedroom inside Castle Howard in Yorkshire (Photo © by Mdbeckwith)

Complete Debate: The Video

Excerpt: Quotes

«Bedroom, toilet. Mega studio, dungeon. It doesn’t matter. It all starts and ends with the head. The problem stays with the platform on which the materials are being projected. YouTube, SoundCloud and such… this is not enough. Realtime physical interaction is the crucial generator of change. You all know that.»

Meira Asher, Sound Artist (Israel)

«I don’t think so, if you stay in your bedroom. Making a bedroom production is like making a CD or a vinyl release; it is just one step. So, if you upload a video do not expect – as some people do – to have done all your work; do not wait for success, or wait for the world to change.»

Geert-Jan Hobijn, Founder of the Label Staalplaat (the Netherlands)

«The question is: can there be seven billion different forms of expression? I guess so. The bedroom is a great and safe place to test this out, so go ahead.»

Antye Greie-Ripatti aka AGF/Poemproducer, Musician (Finland)

Antye Greie-Ripatti performing at Queen Elizabeth Hall in London with Gudrun-Gut (Photo © by GanMed64, 2010)

«You might worry your song is not being heard, that it's just a little grain of sand. But think about what the beach is made out of.»

Minuit De Lacroix, Singer, Producer and Multidisciplinary Artist (Mexico/Germany)

«With enormous talent, perseverance, and lots of luck, a bedroom producer can change the world. Most of the evolution I notice in music stems from the work of bedroom producers. Often they are very young with little or no experience with professional music, no concern for how their music should sound or where it might fit. They just create what they want to hear. However I don’t believe anybody can change the world alone. The greatest beat is most likely to get immediately lost in the shuffle online unless a core of people, or better yet, an influential figure, sheds light on it.»

Benjamin Lebrave, Producer (Ghana)

«Change happens from the most insignificant things and bedroom producers can do insignificant things. So, change is not just a big bang. It’s usually kind of a phased change.»

Jesse Samba Wheeler, Ethnomusicologist (USA/Brazil)

«Maybe they can’t change the world, but they give more details to it.»

Effy B, Radio Producer (France)

«Change comes locally and individually. And that will hopefully have a butterflyy effect and change the world for the better.»

Salome MC, Rapper (Iran/Japan)

Video Debate Statements by

Meira Asher, Sound Artist (Israel)
Effy B, Radio Producer (France)
Giacomo Bottà, Scholar (Finland)
James Costello, Artist (Ireland)
Minuit De Lacroix, Composer and Singer/Songwriter (Mexico/Germany)
Rona Geffen, DIY Musician & Artist (Germany)
Gregg Michael Gillis aka Girl Talk, Mashup Artist (USA)
Antye Greie-Ripatti aka Poemproducer/AGF, Musician (Finland)
Geert-Jan Hobijn, Founder of the Label Staalplaat (the Netherlands)
FrankJavCee, Blooger and Musician (USA)
Benjamin Lebrave, Producer (Ghana)
Wayne Marshall, Technomusicologist (USA)
Salome MC, Rapper (Japan/Iran)
Merz, Artist (Switzerland/UK)
Javier Polo, Director (Spain)
Marilou Polymeropoulou, Graduate Student University of Oxford (UK)
Cande Sánchez Olmos, Music Scholar University of Alicante (Spain)
Bit-Tuner, Musician (Switzerland)
Jesse Samba Wheeler, Ethnomusicologist (USA/Brazil)

Video Cut: Stephan Hermann, Coupdoeil

Some quotes from this debate were published in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Jesse Samba Wheeler: «Directed by Forty-Five Directors»
> Portia Seddon: «MP3 Blogging and the Urban Soundscape»
> Thomas Burkhalter from Norient, Dejot and Bit-Tuner: «South African Gqom Pushes Limits»

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