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Indian E-music – The right mix of Indian Vibes… » 2018 » February » 07

Output’s Analog Brass & Winds is an orchestral library for synth lovers

Delivered... Peter Kirn | Scene | Wed 7 Feb 2018 9:14 pm

You’ve got your synth sounds. You’ve got your orchestral sample libraries. And they’ve always been separate – until now.

Output, the California-based sound design shop, have already built a reputation around sound libraries that mix this with that and bank on novel and on-trend sound design concepts. And roughly this time last year, they took this approach to combining string orchestras and synth strings.

But bringing the analog + acoustic blend to wind and brass may be even more vital because, well, brass and winds are a fairly particular thing to have to design… I mean, let’s be honest, how many people really look forward to brass and winds?

So, what you get are sounds that will genuinely get you excited instead of make you cringe. And oddly, combining in tape loops and vintage instruments makes this category sounds more contemporary.

As per usual, the Output experience isn’t just about calling up a preset you like, but being able to easily dial in exactly the blend and flavor you want.

Let’s break down that interface. Even from the overview screen and macro controls, you get a view to the layered sample-based sound engine beneath (plus some pretty abstracted brass wind bodies):

As in past Output products, once you get into Sources, you see the core of the sounds. Output’s products start with a wide arsenal of sounds that feel a bit like getting to steal a top producer’s hard drive. (Please don’t do that. But you get the idea.) Here, this includes one-shots, more continuous textures (“pads”), and crunchy tape loops, which basically involve the acoustic sources, the vintage synth sources, and then “everything else” / more off-the-wall bits (categorized as “creative”). That’s what gives the resulting stew a forward-thinking sound.

“Rhythm” is where invariably you can go from “oh, isn’t this sound cool” to “oh, I can actually finish this entire track with this plug-in.” Note that you have both synchronized and free (“flux”) modes, and the ability to layer modulations atop your modulated sounds.

This is, again, why Output stuff so nicely merges between preset-dialing and creative sound design – just changing an individual element can have an enormous impact, if you like.

There’s also the usual, tasty-sounding effects section.

If there’s any criticism here, it’s that Output have stuck with their existing sample-based architecture, rather than open up the possibility of, say, some physical modeling. (Underneath the hood here, it’s all the Kontakt sampler.) On the other hand, those models can be processor-intensive and unpredictable, whereas you can dump all of Output’s products on a quick external drive (which is inexpensive these days) and be assured of reliable sound results. I am curious what Output may have next, though, whether they’ve got more ideas for this approach or something else altogether.

Oh, one more thing – this all supports Native Instruments’ NKS, which means I’ll give it a try with the likes of Maschine and the new Komplete Kontrol keyboards, as there’s some interesting potential for live performance with the snapshots and such. Stay tuned for that!

Cost: US$199. But betcha earn that back on a good commission with it.

Requisite video walkthrough:



The post Output’s Analog Brass & Winds is an orchestral library for synth lovers appeared first on CDM Create Digital Music.

World Music Presents Red Baraat Festival of Colors on March 9 – India New England

Delivered... "Indian Electronic Music" - Google News | Scene | Wed 7 Feb 2018 8:52 pm

India New England

World Music Presents Red Baraat Festival of Colors on March 9
India New England
... Sunny Jain and his comrades have never stopped experimenting or adding new elements to their peculiar alchemy. Punjabtronix is an exciting new international collaboration between award-winning British-Indian electronic music producer DJ Swami and ...

Proposal for Class C4 Stations Coming From the FCC – What are the Considerations for Radio Broadcasters?

Delivered... David Oxenford | Scene | Wed 7 Feb 2018 6:30 pm

In a speech yesterday at the MMTC Ninth Annual Broadband and Social Justice Summit, Chairman Pai revealed that a Notice of Proposed Rulemaking to adopt a new Class C4 FM station, that would allow the increase in power of some Class A stations that meet new spacing requirements, had been drafted and was circulating at the FCC for consideration. So we should expect to see something soon. While some Class A stations are certainly in favor of getting more power to increase coverage and increase building penetration in area that they already cover, there are some who are more leery about the proposal. We wrote the following about some of those concerns in September 2016, when this idea was first discussed by then Commissioner Pai at an NAB Radio Show:

A Class C4 station would fit between Class A FM stations (limited to 6 kw ERP at 100 meters antenna height above average terrain) and a Class C3 (25 kw at 100 meters). The Class C4 station would be authorized with a power of up to 12 kw ERP. According to the Commissioner’s speech, this would allow for Class A stations to upgrade their facilities to better serve their communities. We wrote about this proposal when it was first released (here), presenting more details about the technical facilities that are involved in this proposal. While some broadcasters did initially support the proposal, others were less enthusiastic about the idea. Why are there issues with this proposal?

One of the biggest issues is simply the congestion of the FM band. The more stations that are shoehorned into the FM band, the more interference that is created. Many FM stations enjoy listenership beyond the coverage that is predicted by the FM spacing tables. Increasing power of existing Class A stations might well limit those areas of service enjoyed by some stations, and might also limit the ability of existing stations to upgrade to higher classes with more meaningful coverage increases.   It may also reduce flexibility of existing stations to change transmitter sites if something happens to the sites from which they currently operate.

But, today, the area where there is perhaps the most concern is the impact that the proposal, if implemented, could have on FM translators and LPFM stations.   Congestion in the FM band limits opportunities for new FM translators and LPFMs, and could even disrupt the operation of existing translators and LPFM stations. Upgrades by Class A stations to Class C4 could cause interference to the existing translators and LPFMs, perhaps requiring these secondary stations to have to change frequency (if other frequencies are available in their market). In the two years since comments were initially filed on the Class C4 proposal, the use of translators has only increased, particularly to rebroadcast AM stations. Obviously, any consideration of this proposal would have to look at the differences in the use of translators that have occurred since it was first advanced.


The concerns expressed above have only multiplied since they were written, based on the thousands of translators that have been repurposed for AM uses in the recent filing windows. So, in evaluating this proposal, the Commission would be faced with the need to weigh the benefits of the upgrades that some stations could enjoy against the limits on translators and other FM upgrades that could be precluded.  We should see exactly what is being proposed shortly.

ChordFlow 2.3 brings a whole new sound engine to this sketchpad

Delivered... Ashley Elsdon | Scene | Wed 7 Feb 2018 12:30 am

ChordFlow has been around for just under a year now, and in that time it’s had a regular set of updates. This is a really significant update and I think it’ll help ChordFlow get recognised as a serious sketch pad for mobile musicians.

Back in the early days of mobile music mobile apps were often seen as just sketchpads that you could perhaps take on further on a desktop computer. Obviously we’ve moved on from that situation, but musical sketchpads are still valid and very useful depending on your own personal workflow. ChordFlow pitches itself as just that, and with this update it becomes a much more powerful and useful sketchpad.

Here’s what’s new in version 2.3:

New multi-timbral sound engine and new sounds
The previous version of ChordFlow had just a very simple and mono-timbral sound engine and only had the one internal sound, which wasn’t really conducive to use as a musical sketchpad. With this update, ChordFlow gets a whole new multi-timbral sound engine with 25 build-in sounds. Each of the app’s 8 tracks can be assigned any of the new internal sounds.

The new available sounds include:

  • Grand Piano
  • Electric Piano
  • Electric Piano FM
  • Vibraphone
  • Marimba
  • Rock Organ
  • Pipe Organ
  • Accordion
  • Acoustic Bass
  • Slap bass
  • Synth Bass
  • Pizzicato String
  • Harp
  • Strings
  • Strings Slow
  • Choir
  • Synth Voice
  • Trumpet
  • Brass section
  • Oboe
  • Flute
  • Square lead
  • Saw lead
  • Solo vox
  • Polysynth

It’s not a bad set of sounds, and certainly a big improvement from the original position for the app, but I’d really like to see some actual synthesis in here, and I’m hopeful that the app is going to move in that direction with subsequent updates.

Ability to pre-hear chords
When you’re in the chord sequence editor view while the sequencer is not playing, if you select a chord or change the selected chord, the chord will be played shortly. This new feature allows you to quickly examine the chords in your sequence without need to play the full sequence.

Export all sections as a single MIDI file
You can now choose whether to export the entire song into one MIDI file or into multiple MIDI files, one per each song’s section.

Support iPhone X
Interface layout is now adjusted propertly for the iPhone X screen. Not so important to me, but will be to some I’m sure.

ChordFlow costs $9.99 on the app store

The post ChordFlow 2.3 brings a whole new sound engine to this sketchpad appeared first on CDM Create Digital Music.

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