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


FCC Announces Long-Form Application Deadline for AM Stations that Resolved Mutually Exclusive Situations in First Translator Window

Delivered... David Oxenford | Scene | Wed 28 Feb 2018 6:00 pm

The FCC yesterday released a Public Notice announcing a filing window from March 14 to March 28 for “long-form” applications for new translators that were filed in last summer’s window for Class C and D AM stations to seek new FM translators to rebroadcast their stations. The Public Notice also sets the procedures for filing in this window. The window is for the filing of complete Form 349 applications by applicants who were deemed mutually exclusive in a notice released by the Commission last year (see our article here) but who were able to work out a settlement or technical solution to that mutual exclusivity in the window at the end of last year for resolving such conflicts. By resolving those situations of potential interference with other applicants, these applications can now be granted. The list of applicants who are invited to file the long-form application is here (in an Excel format). The long-form application requires more certifications and more specific technical information than that which was submitted during the initial filing window. It also allows for minor amendments to applications as long as they do not create any new conflicts.

After the long-form application is submitted to the FCC, the application will be published in an FCC public notice of broadcast applications. Interested parties will have 15 days from that publication date to comment or object. If no comments are filed, and no other issues arise, the FCC’s Audio Division is known for its speed in processing translator applications so that grants might be expected for many of the applications late within a month or two of the filing deadline.

Coming later this year will be a list of “singletons” (applications not predicted to create interference to any other application) in the second translator window for Class A and B AM stations (see our article here). A settlement window for applicants in that window who are mutually exclusive will also be announced at some later date. For applications in either of these windows who are not able to work out ways to resolve conflicts, there will eventually be an auction between mutually exclusive applicants. But, the majority of the applications on yesterday’s list will soon be new translators, and we are also bound to see hundreds more from the second window. So watch for these FM translators rebroadcasting an AM near you soon.

Premiere: Spell Drops music video is flowing, organic electronic poetry

Delivered... Peter Kirn | Scene | Wed 28 Feb 2018 4:02 pm

Paris-based artist Morgan Friedrich is a choreographer as well as a producer – and his video and music are both infused with that sense of music and body.

Morgan Friedrich aka Morgan Belenguer is the kind of old-school renaissance romantic you’d expect from Paris in another century – mixing dance and poetry and music. But the sound and look are beautifully rooted in this moment. There’s fluid, bass heavy sounds with organic percussion, free angular jazz-like melodies, in asymmetrical flowing cascades. It all makes for a mystical pathway through some post-futuristic spirit world.

“Spell Drops,” the opening single, is already available for download from XLR8R and gets its video premiere here. And it looks like this – the choreography I think perfectly embodying the music. (And better than my words do – what was that about writing about music / dancing about architecture, again, whoever actually said that?)

Credits:

Music by MORGAN FRIEDRICH
Directed by Morgan Belenguer
Edited by Joji Koyama
Styling by Mattia Akkermans

Morgan also tells CDM a bit more.

Peter: How did the music video come about?

Morgan: In general, my videos emerge as part of musical compositions. After having collected various elements related to my theme (including notes, photos, quotes from books, descriptions of particular situations which appeal to me…) I assemble these “construction materials” and use them to shape my video.

In particular, Jay Hawkins’ “I put the spell on you” is the source of the song Spell Drops. I changed the “you” to “it” to bring the gaze downward, towards the ground, the earth, the real: “I put the spell on it because it’s mine.”

There is something blues, something Muddy in this piece of music, the feeling of being possessed, of possessing. That’s why Friedrich wanders like a solitary walker through the agricultural fields and wastelands. He carries on his back a sign usually used for advertisements. I re-appropriated this nomadic structure and imprinted on it his questions, his own thoughts as a reminder: “where can I land… on which ground?”

One of the elements of the sign, the shell, was created following a radio interview of Michel Serres, one in which he says that the shell was the first protective habitat of the living. A few days later, on the terrace of a bar, a cigarette crushed in a Saint Jacques shell caught my attention. I took a photograph of it with my phone (to appropriate is perhaps to pollute, to pollute it is perhaps to appropriate …).

Who are your collaborators here; how did you end up working together?

On Halloween night, I met Mattia Akkermans by chance in a bar hidden under a veil. A fashion designer by training, she became the stylist of my tragedy. She helps me to aesthetically construct my visuals as well as Friedrich’s appearance. Joji Koyama, who edits my videos, was introduced to me by a mutual friend. In general, I send him my raw material and explain to him my theme and what I think it might become. Each time he transcribes the theme perfectly in a surprising and sometimes touching way, which delights me … How lucky for me!

There’s such a distinctive feel to the music. How do you work; how do you compose this sort of flow?

The composition is an attempt to transcribe into music a physical or bodily sensation, a feeling, an experience. For example, for Spell Drops I was looking to express a kind of irregularity, an unleashing, an overflow, a panic that mixes violence and softness… “The feeling of being swept away by a river against one’s will.”

Technically, I was going to record atmospheres, soundscapes, which I would transpose with the MIDI choosing the instruments and then rework by altering the tempos in a way that gives the impression of always being a bit out of kilter…

What was the inspiration for this text? Did it serve as a map to the music? To the video? (I see it’s associated with the video; did it act as a kind of storyboard?)

The text is written at the end. It is the poetic description of the various symbolic elements that compose the video.

The poem accompanying the video / single:

Spell, Drops.
A handful of earth, because it’s mine, Drops.
A banner on his back, he wanders through the field, Drops.
A cigarette crushed in an empty holy shell, a habitat, Drops.
A Home equipment barcode, labeled on a pebble stone, Drops.
A shoe sole left in the sand, photographed by someone’s shadow, Drops.
An aftertaste, a background, a reverse then a reversal, Drops.
An empty look, on nothing, in particular, he leans, Drops.

What’s your tool set in the studio? How will you adapt it live?

I use mostly software, amps, pedal effects, nothing too extraordinary …

For the live performance, on the technical side, I will have a reduced set, a computer, a controller, a filter. I want to be able to detach myself from the control tower so that I can express myself physically. Ideally, I would like to adapt certain melodies by two experienced singers who would improvise during the live set and respond to each other face-to-face to give more body and more life to the music.

Can you tell us a bit about your background in music?

I’m a dancer out of the conservatory. I became a professional and then a choreographer. The music is for me at the same time a space and a partner. Now I try to make my music in a way that it can become a staged or choreographed body. My musical formation is fundamentally about such inversions and learning in strange ways.

Thanks, Morgan. For still more work from him:

The past film from the same collaborative team above:

http://morganfriedrich.com/about/

https://www.facebook.com/morganfriedrich/

https://www.instagram.com/morganfriedrich_/

The post Premiere: Spell Drops music video is flowing, organic electronic poetry appeared first on CDM Create Digital Music.

10 Albums That Defined The Prolific Electronic Outfit Mouse On Mars

Delivered... By Daniel Melfi | Scene | Wed 28 Feb 2018 2:08 pm

The post 10 Albums That Defined The Prolific Electronic Outfit Mouse On Mars appeared first on Telekom Electronic Beats.

Who Is Being Heard in Global Music?

Delivered... norient | Scene | Wed 28 Feb 2018 7:00 am

Money rules the world. Like everyone else, musicians need to pay rent and taxes. They are also affected by the daily business of producing music: How much does a new computer cost? How can I pay for advertising my new track on social media? How can I use streaming services? We asked musicians from the Norient network how to get heard in global music? A virtual debate from the Norient exhibition Seismographic Sounds (see and order corresponding book here).

Fighting over money (Photo © by publicdomainpictures)

Complete Debate: The Video

Excerpt: Quotes

«The Internet and pirated software have totally changed the power dynamic in global music in the Arab World and elsewhere. It’s not only the rich kids who speak anymore. The best example is the rise of the Egyptian dance music from the streets, called mahraganat, in the years 2006 and 2007. It has become the omnipresent soundscape of Cairo, flying out of every microbus, every taxi and every tuc-tuc. Music in Egypt now is not just about rich kids, nor is music from Egypt about rich kids. It’s about kids from the poor neighborhoods who started making music together. Today, one decade later, mahraganat musicians have just signed distribution deals with Sony International and play gigs all around Europe.»

Maha El Nabawi, writer and co-founder of the independent newspaper Mada Masr (Egypt)

«It is obvious that in non-western countries, many if not most musicians and composers who do play electronic music come from rich families. They have better access to education, universities, academies, and to the Internet. They have more free time, hence they can afford to play music, to compose music, and to buy gear. In families that are not so rich or not rich at all, people don’t have time to think about global music, experimental music, electronic music. They think about what they shall do tomorrow in order to eat.»

C-drík Fermont, vegan artist, DJ, singer, composer and drummer (Germany)

«With our label Activia Benz we are kind of modern day Robin Hoods. But instead of stealing from the rich, we are working with them; instead of giving money to the poor, we give them mp3s. Getting money from brands, big companies, or major labels is kind of a modern way to earn money. I think it’s a really interesting time at the moment because people actually need to think of more interesting ways to see some money, they need to be creative.»

Gregory aka Slugabed and Jake, producers and co-owner of the label Activia Benz (Great Britain)

«In this country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the women.»

Tony Montana in Scarface (Brian de Palma, USA 1983)

«It’s not so much wealth that decides who is actually listening to your music, but it’s more the geographic position from which people speak and act. Global media is mostly dominated by English language and thus producers and DJs from the Anglo-Saxon world have a dominant voice in global music. It is easier for them to promote their music through English speaking media outlets.»

Daniel Haaksman, music producer and director of Man Recordings (Germany)

«Making money is a wonderful thing, but for me the primary function of Pidgen Music was to create the environment that would create the product that could generate the money. Pidgen Music for me has always been bigger than a business.»

Panji Anoff, founder of the label Pidgen Music and music producer of popular Ghanaian sounds in Pidgen English (Ghana)

«One show can pay for your album».

Emmanuel Jal, rapper and a former child soldier, who became famous with messages of peace and reconciliation and assumes he will shock people by including different experiences in his next album (South Sudan)

«It feels strange to know that you come from one of the richest places on earth. One of the things I criticize is the distribution of wealth. But I’m doing this by traveling into other countries and I can only do this because of the support of—for example—the Swiss arts council. I go to these poor so-called third world countries and play there for free. Of course it’s nice that I can share something that way, but I never get rid of the feeling that there’s something patronizing about it.»

Dave Phillips, sonic activist, composer, performer and researcher (Switzerland)

«Ten years ago, the music scene in China was exploding and people were experimenting a lot. Nowadays I see that some of the people I knew, who did sound art and so on, have stopped. What are they doing now? Minimal techno and stuff like that. Why? Just because it brings money. In many places there is no sponsorship from non-private curators. It is really frustrating to see people going into another direction just because they need to survive, but I understand them somehow. Meanwhile, the Chinese state starts to care a bit about music because they have to show a positive image to the world.»

C-drík Fermont, vegan artist, DJ, singer, composer and drummer (Germany)

Video Debate Statements by

Maha ElNabawi, writer and co-founder of the independent online newspaper Mada Masr (Egypt)
Emmanuel Jal, rapper (South Sudan)
Dave Phillips, sonic activist, composer (Germany)
Panji Anoff, founder of the label Pidgen Music (Ghana)
C-drík Fermont, vegan artist, DJ, singer (Germany)
Gregory aka Slugabed and Jake, Founder of the Label Activia Benz (Great Britain)
Daniel Haaksman, Founder of the Label Man Recordings (Germany)

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

> Tara Mahadevan: «Reinforced Rap Clichés»
> Refantho Ramadhan: «Photo Series: Money Laundry»
> Julian Bonequi: «Syrphe: Noise Music in Africa & Asia»

Klevgränd unveils their latest creation, Grand Finale – Audio Finalizing Tool for iOS

Delivered... Ashley Elsdon | Scene | Tue 27 Feb 2018 11:47 pm

Klevgränd have released their latest creation for iOS. Grand Finale is a multi effect audio processing application designed for finalizing complete mixes, stems, voice overs, buses and/or individual audio tracks. The plug-in offers several modules in a pre-routed configuration. Each module has parameters to alter, and most modules offer a set of algorithms to select. These features come together to make Grand Finale a powerful tool for quickly finalizing a track, bus or mix.

Grand Finale can import audio from iTunes, AudioShare, or extract audio from a video in the camera roll, which is pretty cool, and also I think fairly unique. Audio can also be imported by using the “Open In..” option in any other app that can export audio. You can use the app’s playback controls to start and stop playing, and alter the module knobs/options to change how the audio itself is processed. When you’re satisfied with the result, you just tap Export to render and save the finalized audio file. That’s it.

The app has the following included DSP Modules:

Main bus processing

  • High Pass filter
  • Compressor
  • Multiband Compressor
  • MS Stereo Tool
  • Equalizer
  • Limiter

Additive/parallel processing

  • Compressor
  • Distortion

Other features:

  • Accurate RMS and LUFS metering (tap the meters to swap)
  • 37 professionally made factory presets.
  • Load / Save custom user presets
  • Project manager (load / save full state including audio file data)
  • User manual bundled inside app.
  • Parallel processing is phase linear.
  • Exports to WAV/AIFF/AAC at 16, 24 or 32 bits (sample rate is preserved)

Grand Finale is a stand alone application and will only run on a 64 bit CPU. Supported devices are iPad Air (or later), iPhone 5S (or later), iPod Touch gen 6 (or later)

Grand Finale for iOS costs $7.99 on the app store now:

Here’s a video showing the desktop version of Grand Finale

The post Klevgränd unveils their latest creation, Grand Finale – Audio Finalizing Tool for iOS appeared first on CDM Create Digital Music.

THE SUNSET MUSIC FESTIVAL LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Tue 27 Feb 2018 5:30 pm
Marshmello and The Chainsmokers headline! 3lau, Borgore, NGHTMRE, and Boombox Cartel also top the lineup!

The First EEO Audit of 2018 With a New Wrinkle – Notifications by Email and Responses Submitted Through the Online Public File

Delivered... David Oxenford | Scene | Tue 27 Feb 2018 5:03 pm

On Friday, the FCC issued a Public Notice announcing its first EEO audit of 2018. The Notice lists the stations that will be subject to the review as well as the rules that apply to that audit. And those rules are somewhat new.  First, the notice itself was not sent by mail, but instead by email – the first time that email has been used to deliver the notice of an EEO audit.  Some broadcasters who received the email seemed surprised and wondered if the email really was an official FCC communication, so the FCC included verification methods in the letter including a link to the Public Notice.  So, if you are listed on the Public Notice, you are subject to the audit.

Second, the procedure for responding to the audit is different.  No longer does the broadcaster subject to the audit have to submit paper copies of all of its documents to the FCC through the FCC Secretary’s office.  Instead, the response will be filed in the station’s online public file.  The response must be uploaded to the online public file by April 12.  There, the FCC can review that response (as can anyone else anywhere, at any time, as long as they have an internet connection).  The audit requires that the broadcaster submit their last two EEO Public File Reports (which should already be in the online public file) and backing data to support the outreach efforts.  Broadcasters subject to the audit should carefully review the audit letter to see the details of the filing.

If any station in your cluster is on the list of audited stations, all stations in that “station employment unit” (a group of commonly owned stations serving the same area with at least one common employee) must respond. If that cluster has 5 or more full-time employees, it must observe the FCC’s EEO requirements and respond to this audit.  If a station that is being audited is involved in an LMA with another broadcaster, the audit may require that the broker provide employment information as well as the licensee.  There are some exceptions for stations recently renewed or audited in the recent past.

Be sure to take care in responding to the EEO audit as the FCC will be reviewing it carefully, and issues with the audit can lead to fines.  Even though the FCC has allowed online recruiting to be the sole method in which a station recruits new employees (see our article here), if a station does not keep the required paperwork and submit it in response to the audit, the station can still be fined by the FCC (see the article here about recent EEO fines).  So check the audit list twice to see if your station is on it, and if it is, take time and answer carefully.

Mammut is free software that does completely insane things to sounds

Delivered... Peter Kirn | Scene | Tue 27 Feb 2018 4:25 pm

From the darkest arts in auditory alchemy, you can find gems like Mammut, a free tool that will utterly mangle digital audio into forms beautiful and chaotic.

And I mean really weird. From producing eerie, smeared convolutions of files to manipulating the spectrum of a sound in ways that are actually unlistenable (as in, they cause excruciating pain), Mammut is delightfully un-commercial and totally unpredictable.

Here’s how this all started. Last week, I noticed that popular time stretching algorithm PaulStretch had found its way into a convenient plug-in form for Mac and Windows. That opened the floodgates to lots of discussion of where to find similar tools.

If you want PaulStretch, it’s worth checking out the original, or the version now baked into free sound editor Audacity:

http://manual.audacityteam.org/man/paulstretch.html

More tools also came up with Soundhack. As creator Tom Erbe wrote me (after I mentioned I loved his software for doing convolution all the way back to the mid 90s), he mentioned:

“++spiralstretch does a pvoc stretch on realtime incoming sound with up to 8 overlapping “stretchers”. also does granular stretching for a less spectral sound. (shameless plug)”

http://www.soundhack.com/

Mammut represents a different path to strange noises. You know you’re in for something out of the ordinary from the moment you launch it, and are treated to a woodcut of a woolly mammoth and some braying animal noises and … wind … or something. Then, with that dizzying animation looping in the background, you load a sound. You’re then able to directly manipulate the spectrum of the sound, via a seemingly random assortment of tabs with different functions. These have descriptions that range from detailed and useful to glib to … tabs that have no explanation at all, or one that says “Rather useless.”

Okay, then!

There’s some beautiful stuff in there. In addition to being able to edit a spectrum directly, you can apply more beautiful time stretching and features like convolution, which combines audio waveforms by spectra.

And there’s undo/redo, too, accessed by up and down arrows in the middle of the interface, so you can back out of decisions that just screwed up the sound. (Those you’ll find pretty readily!)

As the creators describe it:

Mammut is a rather unpredictable program, and the user must get used to letting go of control over the time axis. The sounding results are often surprising and exciting. Mammut is also ideal for common operations such as filtering, spectrum shift and convolution and it provides an optimal performance.

Mammut is old software, from pre-2007, but thanks to being built in the free JUCE environment still compiles and runs nicely. It’s a project of Notam, the electronic art research center in Oslo, and developed by Øyvind Hammer, with a UI by Kjetil Matheussen.

The “mammoth” reference is because it takes the FFT of the whole sound file at once instead of using windows / chunks of the sound. While the results here are radical, similar techniques find more practical applications – like building a smooth waveform pad synth.

Anyway, I suspect you can from here go down either a link hole looking at that research and the engineering side, or get lost playing with sounds.

http://www.notam02.no/web/prosjekter/mammut/?lang=en

I wound up making sounds with it, including convolutions of other productions I was working on, and assembled a track:

In honor of Mammut, I think it’s also only appropriate to paste in this film – enjoy!

Thanks to Jhh Löwengard for the tip!

The post Mammut is free software that does completely insane things to sounds appeared first on CDM Create Digital Music.

Madonna and Grimes lay bare cost of creative freedom for female artists

Delivered... Laura Snapes | Scene | Tue 27 Feb 2018 1:03 pm

Laments from the two stars show that an industry quick to sell the idea of female independence is far less keen to support it

The buried Instagram comment and hastily deleted tweet have become a kind of desperate cri de career for female artists who have founded professional lives on on bold statements. This weekend, both Madonna and Grimes used Instagram’s comments section to express their frustration with how their respective teams were handling their new material.

On Saturday Madonna’s manager, Guy Oseary, posted a glowing tribute to Madonna’s album Ray of Light on its 20th anniversary: “Love this woman. Love this album,” he wrote. Deep down the comments thread were two contributions from the artist herself. “Can you help me now please!! ” read the first, followed by a pointed addendum that referenced her work with William Orbit on the album. “Remember when I made records with other artists from beginning to end and I was allowed to be a visionary and not have to go to song writing camps where no one can sit still for more than 15 minutes … coming soon”

‼️ pic.twitter.com/dSO14vElnW

Related: Grimes: 'In my life, I'm a lot more weird than this'

Continue reading...

Audio Damage brings Discord4, a Dual Pitch-Shifting Delay to iOS and desktop

Delivered... Ashley Elsdon | Scene | Mon 26 Feb 2018 11:23 pm

Audio Damage have brought us a big bunch of excellent iOS apps in the last few months. There have been some very notable apps like Axon 2, and Replicant 2, a couple of my favs anyway. Not Audio Damage brings Discord4, the latest version of their most popular and long-lived product, the Discord stereo pitch shifter.

This was originally modeled from the H910. However, Discord has long since become its own effect and for many it’s now a studio standby. This version includes major additions to further stretch its capabilities. This app is a stand-alone (with Inter-App Audio) and also is an AUv3 effect for use in hosts that support that format, such as Beatmaker 3, AUM, Cubasis, and Garageband. And of course, there’s a full PDF manual is available at the Audio Damage website.

Here’s more about Discord4:

Discord4 consists of three separate algorithms: a “vintage” mode (the original Discord algorithm, modeled on the Eventide H910 and H949), a “clean” mode for more modern shifting sounds, and a “granular” mode for experimental effects. Each mode has its strengths, depending on the input material, and Discord3 has a broad palette of capabilities as a result. The P1 and P2 algorithms have full control over the buffer (window) size of the shift effect, for fine tuning the shift to the input signal, or for stranger sound effects. At the extremes of the six-octave shift range, some truly strange aliasing and artifacts can be had with this control.

Discord4 retains its pair of tempo-synced delays and bandpass filters from previous versions, and adds a reverb in the feedback loop (for easy access to “shimmer” effects). We have also replaced the modulation sources from the original with our all-new FLFO (Flexible LFO) design. Panorama controls are included to control the stereo width of the wet signal. Finally, soft saturation and limiting have been added or improved throughout the signal path, for an overall improved sound and added vintage-style warmth, and to allow for extreme feedback experiments without fear of overloading your DAW’s channel.

Features

  • Pitch Shifting: Discord4 contains a pair of shifters with three separate algorithms (Vintage, Clean, and Granular) for different styles of pitch shifting.
  • Buffer Size Control: The P1 (Vintage) and P2 (Clean) algorithms have a Buffer Size control, from 32 to 2048 samples, for fine-tuning the pitch shifting effect.
  • Delay: Tempo-synced or free-running delays with feedback, cross-feedback, and a sophisticated bandpass filter.
  • Reverb: A simple stereo reverb is added to the feedback path, for “shimmer” effects and further sound exploration.
  • Modulation: Two of our new FLFO (Flexible Low-Frequency Oscillator) with tempo sync and an arbitrary waveform, capable of a nearly infinite number of modulation shapes using only three controls.
  • True Stereo Operation: Discord4 has a true stereo signal path, with entirely independent control over each side, finishing with panorama settings for stereo width.
  • MIDI Note Control: Six octaves of pitch-shifting can be controlled with MIDI note input.
  • All-New GUI: Vector-based resizable user interface.
  • Presets: Cross-platform XML-based preset manager.

Discord4 is available on the app store and costs $5.99:

The post Audio Damage brings Discord4, a Dual Pitch-Shifting Delay to iOS and desktop appeared first on CDM Create Digital Music.

Alex Buga brings a new sample instrument for iOS, Samplist

Delivered... Ashley Elsdon | Scene | Mon 26 Feb 2018 10:57 pm

It’s always interesting to see a new app come along and try to carve out a space for itself. Samplist enters a not too crowded space in the iOS music app space. Even so, I’m not sure how it’s differentiating itself from what’s in the market now. According to the developer, “Samplist is a MIDI sampler instrument which allows you to chop a sample into different parts and play them with the on screen keyboard or a MIDI keyboard.” All of which is fine, and it has some fine features that you’d expect from a developer who understands what’s important for seasoned iOS users. Such as …

  • Audiobus
  • Inter-app Audio
  • MIDI in, both wired & via Bluetooth LE
  • Sample import from Files app or “Open in…”
  • Export slices as Zip file to other apps
  • Each slice has its own Filter, Envelope & Realtime pitch shifter.

That was the feature set from the initial release, on the 23rd of this month. On the 24th there was a bug fix release, and then today, there was version 1.1, which brought …

  • Slices cannot go outside the screen anymore. They’re limited to the sample length.
  • Increased the zoom size.
  • Split the sample into equal regions.
  • Split the current selected sample into half.
  • Renaming a sample which has a preset, now renames the preset also.
  • When you tap ADD SLICE, it ads it after the current selected slice.
  • Fixed the faders. You can drag them easily now.

So there’s obviously some serious intent to make good on the promise of “More to come in the near future”, which was from the developer.

As ever, I like to see apps and developers bring good apps and meet both the needs of the community, and get rewarded commercially for their efforts. But for that to happen apps need to fill a space in users’ workflows that makes sense. I hope that Samplist will do that in the very near future.

Samplist is on the app store and costs $4.99

The post Alex Buga brings a new sample instrument for iOS, Samplist appeared first on CDM Create Digital Music.

Reactable’s Snap Drum Machine adds some very cool new motion features and more

Delivered... Ashley Elsdon | Scene | Mon 26 Feb 2018 10:22 pm

Reactable first brought us their Snap drum machine back in November of last year. It was a good day when it arrived. Not only is it universal, and free (yes with IAPs), but it’s also available for Android too. But they haven’t been content with just delivering a cool drum machine for mobile devices. Not in any way. They’ve made it a very intriguing proposition. The latest version of the app adds a whole new dimension to using it. Say hello to …

MOTION CONTROL

With motion control, you can now use your iPhone to trigger the snapshots of your session. The app now has four distinct gestures. According to Reactable, these are identified using the latest in machine learning technology, which then enable you to jump seamlessly between snapshots with your movements. To find out more you need to check out the in-app tutorial which is only available in the iPhone version of the app.

So, that in itself is a pretty cool feature, but there’s more too. You can also use the gestures on your iPhone, to control a remote instance of SNAP running on an iPad, so long as that is connected to the same wireless network. This can give you the potential for an interactive, multi-device musical performance.

And that’s not all, Reactable have added more new stuff to the app:

If that wasn’t enough they’ve added a MIDI note selector (in the settings page) so you can control which notes SNAP uses in its MIDI output. There are also some new factory sessions, and of course, the obligatory bug fixing.

I’m really looking forward to trying out the remote instance stuff with gestures. I think that this could be really fun to play around with. If it is I can see a lot of videos coming along using this.

For now, if you don’t have Snap, you should grab it. After all, it is free (yes, with IAPs).

The post Reactable’s Snap Drum Machine adds some very cool new motion features and more appeared first on CDM Create Digital Music.

Serato DJ gets more modern features, no longer requires hardware

Delivered... Peter Kirn | Scene | Mon 26 Feb 2018 9:15 pm

Serato’s new software gets support for 64-bit and high-resolution displays – and now you can run it in “practice mode” without having to plug in a controller. Hello, prepping on airplanes.

And in very big news, Serato Lite (formerly Serato Intro) now runs without any license or any controller at all. So you can get going for free – and plug in entry-level controllers if you like.

Some software releases you can just meet with “ah, finally.” And that’s the case here. Serato’s newest update isn’t exactly revolutionary, but it’s good news both to current Serato users and to people who found limitations on past versions were an obstacle.

You will have to get used to some (slightly annoying) name changes. Serato Intro is now Serato Lite. Serato DJ is now, for no good reason at all, Serato DJ Pro.

But let’s forgive them the nomenclature, because whatever they want to call it, this is good news. Got a Serato DJ license? You get Serato DJ Pro for free. Plug in a controller? Works as it always did.

What’s new is, you can now use Serato DJ in 2-deck “Practice Mode” and go ahead and mix without hardware. That’s a good thing, too, as those supported hardware controllers tend not to always fit in bus and coach airplane seats or comfortable while you lie in bed or on the couch. Now, you can mess around with new tracks in Serato, as you should.

Practice mode, in the new Serato DJ Pro.

This also means you can give Serato a try and see if you like it without going out and buying hardware. So it’s likely to help bring new users into the fold.

Yes, I know virtually every other DJ tool on the planet already works this way. But that’s why it’s nice to finally see this come to Serato.

Serato DJ Pro gets some other modernization. 64-bit support brings better performance and stability. Think increased access to memory, plus fewer crashes as a result of out of memory issues. And there’s improved support for high resolution screens – so this will look better on your nice new display or MacBook Pro or other laptop.

There are other UI enhancements (pictured here), and – also a big “finally!” here – there’s better help and support built into the tool.

All of this is worth mentioning, because frankly lots of areas of Serato are really better than rivals, yet they’ve been held back by these limitations. I’m going to hang on to a Roland DJ-202 controller as I really like mixing and remixing in Serato, and those decks are so responsive as to make mixing fun. (Yes, even with “sync” mode off.)

You can download the new software now.

https://serato.com/dj/pro/downloads

Images of the new UI courtesy Serato.

Serato DJ Lite now looks like this – and also works without hardware.

In performance mode, with hardware attached, you get an expanded Serato DJ Lite interface.

Performance mode in Serato DJ Pro, now featuring an enhanced UI and high-res display support (such as Retina Display from Apple).

The post Serato DJ gets more modern features, no longer requires hardware appeared first on CDM Create Digital Music.

Kampai boy enthralls – Deccan Chronicle

Delivered... "Indian Electronic Music" - Google News | Scene | Mon 26 Feb 2018 9:06 pm

Deccan Chronicle

Kampai boy enthralls
Deccan Chronicle
Barely three years into the city's music scene, but it didn't take long for Rumit Virmani to find his claim to fame – This DJ-cum-music prgrammer has been involved in getting down international acts like Troyboi, Ganz, Holly, LUUDE and an international ...

and more »

Get lost in the mesmerizing music video, improvs of this duo

Delivered... Peter Kirn | Scene | Mon 26 Feb 2018 8:12 pm

Sometimes, you just need to imagine yourself as being made of boulders, on a mental trip that has you wandering a surreal landscape.

I am a rock, I am an island. Or… I am a bunch of rocks.

So, we’re pleased to premiere “Flake,” the gorgeous single and music video. With sweetly melancholy violin and modal synth pads drifting atop a gentle groove, it perfectly fits its ambling main character through a hyperreal rendered world, in a film directed and animated by Benjamin Muzzin. (Thanks to creative director Lukasz Polowczyk for sending this our way.)

Silky-smooth as this production is, what’s wonderful about Egopusher is, they’re equally tight live. That relaxed vibe in the music comes from a duo whose playing meshes easily in spontaneous, effortless improvisation.

Egopusher is a Swiss instrumental electronica duo, with two musicians who started out doing sessions with Dieter Meier (half of YELLO). That’s Tobias Preisig (violin, synths) and Alessandro Giannelli (drums, synths).

Photo Nuel Schoch

Here’s the basic gear used for instrumentation:

Tobias:
Violin, through EQ and reverb [think that’s a Strymon Big Sky]
Moog Minitaur (little cousin of the mighty Taurus), triggered by MIDI organ foot pedal controller

Alessandro:
Acoustic drum kit
Arturia MiniBrute synthesizer (yep, one hand on kit, one on synth!)

plus for additional electronic instrumentation:
Computer running Ableton Live, triggering effects and additional MIDI
MFB Tanzbär Lite drum machine

They’ve got some terrific live performances for you to take in:

Check out the full album on Bandcamp – beautiful, hypnotic stuff:

https://egopusher.bandcamp.com/album/blood-red

It’s wonderful sometimes how much fine quality music is out there, some of it very much without lots of press hype. And nice when it shows up in the inbox, so keep it coming (even if I can’t respond to it all).

The post Get lost in the mesmerizing music video, improvs of this duo appeared first on CDM Create Digital Music.

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