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Indian E-music – The right mix of Indian Vibes… » 2018 » January » 25


Delivered... Spacelab - Independent Music and Media | Scene | Thu 25 Jan 2018 7:00 pm
Spain's international festival on the beach gets The Killers, Liam Gallagher, Travis Scott, Two Door Cinema Club, Bastille and more.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 25 Jan 2018 7:00 pm
Spain's international festival on the beach gets The Killers, Liam Gallagher, Travis Scott, Two Door Cinema Club, Bastille and more.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 25 Jan 2018 7:00 pm
Headliners include Crca Waves, Peace, British Sea Power and The Horrors! New names include Ash, The Magic Gang, Pulled Apart By Horses and more!

New Teenage Engineering Pocket Operators: Speak, Sample

Delivered... Peter Kirn | Scene | Thu 25 Jan 2018 6:32 pm

The Swedish family of tiny, calculator instruments-on-a-board continues to grow: and now they sample and speak, too.

Teenage Engineering are back with their sub-100EUR line of simple, playable pocket instruments. As always, these feature screens, battery power, folding stands, and alarm clock features that mimic early Nintendo handhelds – plus more powerful features, like parameter locks for creating elaborate sequences of sound tweaks.

The new models feature sampling capabilities and even voice synthesis – and still more clever ideas from developer Magnus Lidström (Sonic Charge).

First up – the PO-35 speak, which can be a voice synth, and can mess with your own input (via a mic), and is inspired by Magnus’ Bitspeek effect.


microphone for sampling NEW! ** that’s not normal sampling as you might think of it – see note below -Ed.
parameter locks
step multiplier
8 voice characters NEW!
8 effects NEW!
transpose and change scale NEW!
built-in speaker
3.5mm audio I/O
replaceable drum sounds with microtonic (sold separately) NEW!
jam sync
animated LCD display
folding stand
break away lock tab
clock + alarm clock
battery powered (2xAAA)
1 month battery life
2 year standby time

The 120 seconds “sampling time” listed actually “stores speech-parameters, not traditional sample data.” Magnus tells us. “Parameters like pitch, volume and formant envelopes. Then it resynthesizes the voice in real-time when you play with it.” This employs the same technique used in Magnus’ Bitspeek plug-in – it’s a clever way of analyzing incoming signal (like you messing about with the mic) and then turning that into fluid sound characteristics, for pitch-shifting, time-stretching, formant-shifting, and the like.

If it’s actually sampling you want, look to the PO-33, below.


Our friend Jakob has video:

And then there’s the PO-33 sampler, called, fightin’ style, the “K.O!” This has real sampling capability – 40 seconds of actual audio recording (which the Speak doesn’t have). And it can use that as a sampler would. You can apply sounds to either drum or melodic modes, and sequence away. More specs:

micro sampler with 40 second sample memory and built-in recording microphone.
microphone for sampling NEW!
8 melodic sample slots NEW!
8 drum slots NEW!
16 effects
parameter locks
40 seconds sample memory NEW!
built-in speaker
3.5mm audio I/O
jam sync
animated LCD display
folding stand
break away lock tab
clock + alarm clock
battery powered (2xAAA)
1 month battery life
2 year standby time


Check the full PDF guide.

More video:

99EUR each, 39EUR for the add-on case, the new two join the microtonic to make up what TE call the “metal series.”

The post New Teenage Engineering Pocket Operators: Speak, Sample appeared first on CDM Create Digital Music.

Sometimes, a Rule Means Just What it Says – FCC Denies TV Station Satellite Must-Carry Request Because it Was Not Sent By Certified Mail

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

In looking at today’s deregulatory FCC, one might think that the Commission would look to the intent of a rule, rather than focusing on the details of the language implementing that rule. But in the case of a San Francisco TV station asking to be carried on DISH’s satellite television system pursuant to the rule that requires a satellite broadcaster who carries one local TV station to, upon request, carry all stations in the market (the “carry one, carry all” rule), those details became very important to the FCC. In a decision released earlier this week, the FCC’s Media Bureau denied the carriage request as the rules state that such requests have to be sent by certified US mail, return receipt requested. The station’s request was instead sent by Priority Express Mail. While there seemed to be no question of whether the carriage request was received by the October 1 deadline for the service of such requests, the decision looked to the language of the rule which states: “an election request made by a television station must be in writing and sent to the satellite carrier’s principal place of business, by certified mail, return receipt requested.” Because the process outlined in the rules was not followed, the decision rejects the carriage request.

What is the lesson of this case? Read the FCC’s rules very carefully and follow the procedures that are set out in those rules. Any adverse party who is looking for a way to deny your request can exploit any deviation from the language of the rules to try to deny you what you want. In this case, the FCC decision even noted that the FCC is thinking of changing the delivery method for most MVPD notices (see our article here), but until the rule is changed, the rule specified a process, and where that process was not followed, the relief the station sought was denied.

Logic Pro X 10.4: New effects, and play and mix audio without a click

Delivered... Peter Kirn | Scene | Thu 25 Jan 2018 5:57 pm

Apple’s free update to Logic adds a slew of new FX. But the banner feature is Smart Tempo: record without a click, and mix and match audio, automatically.

Playing to click tracks has been the bane of DAW and sequencer users since the beginning. The idea of Smart Tempo is, you record with a human feel, and automatic detection adjusts the tempo track to match. You can then either keep those tempo changes or sync up the result to a clock. Apple confirms this is the same automatic detection we first saw in their Music Memos app for iOS. There, it may have even been overkill; here, it seems more essential.

But this isn’t just for recording. The same feature applies to imported audio, as well, making this a remix and production tool. (Apple uses the term “mashups” – uh, does anyone do that any more? I’m … just sort of hoping not. Let’s say “remix.”)

This is similar to workflows in tools like Ableton Live or Propellerhead Reason which now provide tempo-independent audio functionality, but in Logic, you see it in a more conventional DAW context – and you can be the judge of how well the automatic detection works.

Now, as with a number of Apple features, you might have seen something like this a few years ago in Steinberg’s Cubase. (Both original Logic developer Emagic and Steinberg are headquarters in Hamburg, and Apple still hires in the northern German city, so you can do some math there, as well.) But Apple’s integration promises to be more elegant – let’s test both of them and see. (Apple didn’t provide an advance copy to reviewers.)

Apple did share one demo:

New FX

Also new in this release: more effects. These are at least in part the fruits of the acquisition of Camel Audio, whose Alchemy instrument has featured large in both Logic and GarageBand. Alchemy is probably the most popular modern product of Camel, but they made great effects here – and that team seem to have been busy.

10.4 adds Vintage EQ emulations – Graphic, Tube, and Console – which in turn emulate classics like the sought-after Pulteq EQ. (That Pulteq has seen recreations by Universal Audio, Waves, and Native Instruments, too.) These look nice enough, and you can mix and match for combined precision – something not generally possible with other emulations.

ChromaVerb is an algorithmic effect – that is, these nice colored dots are meant to show you lots of different delays across the audio spectrum. That also gives it some unique controls for adjusting sound. Photo courtesy Apple.

ChromaVerb complements the existing convolution-based Space Designer and its physical models of reverberation with algorithmic, digital-style emulation. There’s some nice color animation for additional feedback, with equalization options big and front-and-center, plus a novel “attack” parameter.

Phat FX is a multi-effect that’s obviously the successor to CamelPhat – so think warmth, distortion, punch, presence. I loved the original, so I’m curious what the new take sounds like.

Sequence multiple effects – or even other sequences – in this combined rhythmic sound processing tool, and a new take from Camel greats from the past.

There’s also a step-sequenced Step FX, which combines multiple synced rhythmic effects – and even other step-sequencers – in to a multi-effect. It’s very Camel, and looks terrific:

The Drummers and Drum Kit Designer range gets more useful as Apple adds brush styles and more content, along with a new Alchemy library and other sound content. There’s also expanded support for tagging and metadata. With Native Instruments pushing their platform hard, I’m curious to see whether Apple can reinvigorate third-party development for their once-proud EXS platform. But at least included content is strong – and of course you can always add via the third-party ecosystem (meaning NI and many others).

The big reason you’re unlikely to complain about this is, you’re not going to have to pay for it – continuing Apple’s free upgrades for Logic Pro X. So it’s US$199 to enter, and then a whole mess of free regular updates. On the other hand, I do hear Apple makes other stuff that they charge money for (cough).

Speaking of that, Apple are quick to tout enhanced performance on the new iMac Pro. But I suspect a lot of you are waiting now on the promised modular Mac Pro – that is, allowing you to mix and match a monitor or monitors of your choice and upgrade display and main machine separately, which is more flexible and presumably more economical than buying these slick all-in-ones. And the dominant machine for producers by far remains the MacBook Pro. No news to report on those fronts.

Ooh, look – big graphics justifying buying new pro Apple machines. Feels like old times. Courtesy Apple.

At least computation does continue to benefit performance, for those of you pushing the envelope with high track counts and the like.

Logic Pro X 10.4 is available now on the Mac App Store.

The post Logic Pro X 10.4: New effects, and play and mix audio without a click appeared first on CDM Create Digital Music.

Auxy 5 brings a new drum instrument and whole new model too

Delivered... Ashley Elsdon | Scene | Thu 25 Jan 2018 7:30 am

I’ve been an Auxy user since version 1. Since then I’ve seen it grow and develop in a lot of different directions and do some very interesting things too. I may not have agreed with it all, but I have seen this app get consistent and high quality updates, and version 5 is exactly consistent with what’s gone before. In fact, I’d probably say that goes in a new direction for Auxy, and one that I think makes a lot of sense, but more of that in a minute.

Let’s start by talking about Auxy’s redesigned drum instrument. This new instrument allows Auxy users to build custom drum kits with their favorite samples, browse through samples and import their own too. A user can now start with an empty kit or one of the new presets that Auxy has on offer. But it goes further than that too. With the new drum instrument a user can adjust pitch, reverb, pan and other settings for each individual sample. Samples can be added to favorites for quick access, and you can now have up to 20 instruments in your project.

Also in version 5 Auxy adds a new sample library. The library is available through a premium subscription model, which gives users access to all the available sound packs as well as new content that will be added every month. To kick off their new model Auxy is offering a free trial period, and, if you already own some of their sample packs your free trial period could be extended.

There’s a few other bits and pieces in version 5, here’s a quick list.

  • Samples with meta data will auto tune to key setting and pre-trig if they have a pre-roll
  • Redesigned sound browser
  • All sounds and samples now live in the cloud and can be accessed dynamically
  • Decide which sounds you want to download to your device
  • Only download the sounds you need when opening a shared project
  • Remove unused sounds to clear space on device
  • Two new sound packs available today:
  • Boom Bass (bass patches based on tuned kick samples)
  • Destiny (synth sounds for future bass type music by 7 Skies)

Now to the financial stuff. The Auxy subscription is USD 4.99 for the monthly plan, but you can pay for a full year and get 20% off the monthly price. There’s a 7-day free trial for new subscribers, and current sound pack owners get to keep their sound packs indefinitely and get an extended free trial.

As it goes I think that this subscription model is pretty good value. If you think about all of the existing packs in the app and what you’ll get going forward it makes a lot of sense, and I can see myself going for this.

Auxy is free to download on the app store:

The post Auxy 5 brings a new drum instrument and whole new model too appeared first on CDM Create Digital Music.

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