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Indian E-music – The right mix of Indian Vibes… » 2018 » March » 23

Finally, a new controller for your feet, for software or hardware

Delivered... Peter Kirn | Scene | Fri 23 Mar 2018 6:16 pm

Until we evolve more arms, foot controllers are very necessary. So it’s nice to see a new entry for both software and hardware control, in the form of the Nektar PACER.

If you don’t know Nektar, they’ve had a range of controller keyboards for some years now. They made a name for themselves by integrating with Reason, but since added loads of additional software support. And since they aren’t in the software business like Native Instruments and whatnot, Nektar has focused on deep integration with a range of tools.

The PACER does this, but for your feet – targeting software and hardware alike. And it’s about time – we haven’t seen a whole lot of competition in this market for a while, despite feet being something a lot of humans have.

There’s a lot of reason instrumentalists of various types may want foot controllers. You might need to control the transport of your DAW during a recording session, or switch effects in software, or work with preamps or effects on amps.

The PACER appears uniquely suited to all these tasks, for a few reasons:

Color: RGB LED color coding, programmable (get ready to shoegaze, apparently)
Works with DAWs and other MIDI gear: MIDI Machine Control, Mackie Control Universal (MCU)
Built-in support for Apple Logic and Garageband, Bitwig 8-Track and Studio, Cockos Reaper, Propellerhead Reason, Steinberg Cubase and Nuendo, Avid Eleven Rack (okay, so who wants to do an Ableton setup?)
Works with MIDI guitar products: Line 6 Pod and Helix, Fractal Audio AxeFX, Kemper Profiler, Elektron Octatrack Pickup Machine, Electro Harmonix 45000 Looper
Works with guitar products that don’t have MIDI (via standard amp switching and four onboard relays)
Expandable: 2 TRS jack connectors for up to 4 external footswitches, plus another 2 TRS for up to 4
Standalone MIDI operation (without a computer)
USB MIDI operation with a computer
USB bus powered (or use that USB with an adapter if you forget the PSU wall wart)

So, you could easily customize this for your favorite VST plug-ins, whatever. Basically, you get 10 footswitches with RGB LEDs, 1 footswitch for going through presets, 1 encoder with push switch (which navigates the interface and provides control and programming), and a mess of I/O.

The key is making each foot switch press flexible. These can send up to 16 MIDI message (or relay switch) states at once, plus up to six programmable steps sent at once or in sequence. So you can chain together lots of different settings.

It’s clearly not limited to guitarists. Anyone who’s playing an instrument or other controller or even holding a mic may need foot input for recording and effects control – and foot switches are a great way to externalize and control different effects chains.

And it doubles as a USB MIDI interface and works in standalone MIDI mode – or both at once.

Shipping in April 2018, MAP price: $229.99 US / £199.99 / €229.99

More: www.nektartech.com

That name, though.

The post Finally, a new controller for your feet, for software or hardware appeared first on CDM Create Digital Music.

Commercial Radio – Remember to Sign RMLC/SESAC Contract By March 26 to Get the Full Benefit of Arbitration Decision

Delivered... David Oxenford | Scene | Fri 23 Mar 2018 4:32 pm

We wrote last summer about the substantial reductions in SESAC royalties that the Radio Music License Committee was able to achieve for commercial radio stations through a decision in its arbitration proceeding. RMLC recently sent out an email to all commercial stations that had authorized it to act on the stations’ behalf reminding them that, to get the full advantage of the retroactive discounting of the SESAC rates, stations need to sign the SESAC agreement by Monday, March 26. More information about this deadline and a link to the SESAC contract that needs to be signed can be found at the RMLC’s website, here. The arbitration award covers the license period 2016-2018, which is why there will be credits from SESAC for overpayments that stations made over the past two years. Also on the RMLC site is a link to an authorization form for future negotiations with SESAC for those stations that have not previously authorized RMLC to act on their behalf in SESAC matters. Act now to take advantage of these significant savings.

FCC Rules Relaxing AM Proofs of Performance Become Effective

Delivered... David Oxenford | Scene | Fri 23 Mar 2018 4:31 pm

In September 2017, the FCC adopted new rules making AM proofs of performance easier to conduct for many stations. We summarized the changes here, and wrote about the FCC’s adoption of these changes here. The FCC yesterday released a Public Notice announcing that these rules have completed the review process under the Paperwork Reduction Act, and are now effective. Thus, stations can now take advantage of the simplified proofing options provided under these new rules.

FCC Adopts Notice of Proposed Rulemaking Looking to Simplify Sale of Satellite TV Stations

Delivered... David Oxenford | Scene | Fri 23 Mar 2018 4:30 pm

At its open meeting yesterday, the FCC adopted a Notice of Proposed Rulemaking looking to ease the paperwork involved in the sale of a satellite television station – i.e. a station, usually in a smaller market that is associated (and often rebroadcasts) another station in that market. As we wrote here when we summarized the draft Notice of Proposed Rulemaking released in anticipation of yesterday’s meeting, the Commission proposed to simplify the sale process by not requiring that a buyer prove that the conditions that initially warranted the operation of the station as a satellite not subject to the multiple ownership rules were still in place. That means that the parties to a proposed sale don’t have to search to see if there is a buyer who is willing to operate the satellite as an independent station, and don’t have to prove that the satellite station could not operate on its own – unless that premise is challenged during the course of the FCC’s review and approval of the proposed sale. Comments on this proposal will be due 30 days after this NPRM is published in the Federal Register, with reply comments due 15 days later.

The Abyss of Chaos and Nature

Delivered... Rudolf Eb.er | Scene | Fri 23 Mar 2018 7:00 am

Is noise music a rebellion against liberalism, propaganda and conformism? Is it warfare against overfed, ignorant and cold societies? We asked noise artist Rudolf Eb.er what noise music is about. Here he guides us through names, artistic concepts and subgenres. From the Norient book Seismographic Sounds (see and order here).

Rudolf Eb.er auf Bandcamp, Soundcloud oder seiner Website. (Photo by Promo, 2012)

noise music is widely described as a category of music using noise in a musical context. with this description, the rules are set. we can relax. to make sure that no uncertainty will ever arise again, ripping holes into our belief-system and dragging us into the abyss of chaos and nature, we write down the history of noise music. locating its roots at the sociocultural changes that occurred during the industrial revolution, we mention the 1913 manifesto l’arte dei rumori written by the futurist luigi russolo. to make sure nobody asks if it isn’t music that roots in the functional use of noise, as in ecstatic rituals or tribal warfare, we quickly add some words about russolo’s noise-generating devices and hurry on to the dadaist movement with their anti-symphony. we try not to single out the word surrealism. that would cause us to mention antonin artaud’s theatre of cruelty and to go on to the actionists and hermann nitsch’s monstrous noise orchestras, dragging us into the abyss of chaos and nature. instead we go forward. avant garde! anton webern! arnold schoenberg! morton feldman! this is where music matures. krzysztof penderecki, györgy ligeti, luigi nono! contemporary classic, making us feel the abyss of chaos and nature. elektronische musik and musique concrète. edgard varèse, pierre schaeffer, karlheinz stockhausen! john cage’s silent piece «4’33”.»

«noise is always happening that makes musical sound.» now we lost it again. we must stick to the plan and divide the term noise music into genres and sub-genres until everything has its place—until we can be sure we never have to listen sounds free of any preconceptions! but cage won’t let us go that easy. fluxus plucks and taps, scratches and rubs and drops objects onto our filing-cabinet-mind. the jazz players next door don’t hold back the canon of noise. sun ra, roscoe mitchell, amm! and william s. burroughs is cutting up all our good efforts and glues them the wrong way back together.

halfway through this text and we haven’t come up with any useful key to specify noise music. it’s the later 1970s and asking some skinny, freaky-eyed kids, they’ll point to a band called throbbing gristle. monte cazazza labeled those sickening, atonal but often repetitive sounds by genesis p-orridge and consorts as industrial. from here our genre-detector is picking up. harsh noise and power electronics for example. harsh noise is often produced with distorted electronics and the excessive use of effect pedals, handled by someone suffering the furious symptoms of rabies. power electronics as we know it from the band whitehouse, consists of rather static waves of feedback, pulses from analogue synthesizers and a guy screaming sadistic obscenities or other hateful lyrics. another branch of power electronics with crude sounds, fanatical vocals and hysteric, masochistic stage behaviour is orchestrated by martin bladh’s irm or mike dando’s con-dom. with his war against society project, dando tests social tensions, political control and human conditioning through provocative performances. propaganda, war and violence are the topics of many sonifications in this field, presented in undiluted, pure brutality.

when the sounds lower down and the screams turn into grunts, we speak of death industrial and flirt with doom and black metal. occultist tendencies are also very present in what is called dark ambient. when there is not much left but soundwaves vibrating our guts, it may be filed under drone. if we hear only the amplified noise of a hole-puncher punching holes, we may be listening to the conceptual noise project the haters. a central aspect of their work is that the sounds they produce are pure physical processes such as grinding, crashing and other forms of destruction. the nihilistic agenda of this non-music or anti-music, from where punk looks like an effort to bring law and order back into music, is shared by such groups as the new blockaders. experiencing the conceptual works of achim wollscheid, the psychotic collages of étant donnés or the obscure sonic rituals of the schimpfluch outsiders, yields the realization that genre is obsolete and we’d better move on from classification to an open mind. time to dive into the abyss of chaos and nature.

The text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Read More on Norient

> Simon Grab & Thomas Burkhalter: «Noise and Meaning»
> Simon Grab: «Extreme Rituals»
> Asadullah Qureshi: «Underground Noise from Pakistan»

Intermorphic gives us a visual history of their involvement in Generative music over almost 30 years

Delivered... Ashley Elsdon | Scene | Fri 23 Mar 2018 12:22 am

It’s only fair to say that Intermorphic have been in the generative music business for a very long time, I mean a really long time. They started with SSEYO Koan back in 1990, and dipped their toes in the emerging world of mobile music in 2004 with miniMIX, which ran on Windows Mobile. I still have a copy of that on my old Dell Axim PDA, and it still works.

I think that this is where I first came into contact with Intermorphic, or SSEYO as they were then. miniMIXA was one of the first things I used on Windows Mobile, and it was an eye opener into what could be done on mobile. If you read their site, and in particular the page about their history, you’ll find out what a difficult time they had before they became Intermorphic.

But for many of you, you’ll have started your journey with Intermorphic with apps like Mixtikl and Noatikl, both of which are now subsumed into Wotja, both as iOS app and also on macOS.

If you do head over to the Intermorphic site you’ll be interested to see the entry about Brian Eno and his involvement with the story too. In fact there’s a huge wealth of information about Intermorphic and generative music as a whole. For example, you probably didn’t know that Intermorphic had won a BAFTA for their software?

So, go take a look, and see just how much Intermorphic have achieved in their various forms over the years.

Wotja is available on iOS

Wotja is also available on macOS

The post Intermorphic gives us a visual history of their involvement in Generative music over almost 30 years appeared first on CDM Create Digital Music.

Now there’s an app that will store the presets of all the synths that don’t have presets

Delivered... Ashley Elsdon | Scene | Fri 23 Mar 2018 12:00 am

Or at least so it would seem. It’s a good idea in many ways, and a refreshingly simple idea too. One that you might be wondering why it wasn’t done before. I think that’s a good question. The app has an almost non-existent description on the app store. It simply states:

Don’t forget another setting on your non-preset synthesizer again. Quickly input your favorite synth sounds in a compact, intuitive way with SynthPatch.

SynthPatch currently supports patch creation (not synthesis) for Minimoog, SH-101, and Pro One synths.

Of course, the idea of storing synth presets in iOS isn’t a new one. There are some great apps for doing this for a wide variety of hardware synths. Once of my favourite apps in this category is Patch Base (and it’s companion for anyone who needs SysEx, SysEx Base). Patch Base is great for hardware that can transfer patches via MIDI, but of course there are plenty of synths that don’t or can’t do that, and that’s where SynthPatch comes in. Without it you’d have to use pen and paper, or take a picture.

I’d like to see this app add a lot of other synths to make it much more useful. That would seem well worth investing in, I hope that happens. Ideally I’d like it be a way of capturing presets for stuff like the Bc16 / Bc8 and even the Olegtron! We’ll see.

For now you can get SynthPatch on the app store for $3.99

The post Now there’s an app that will store the presets of all the synths that don’t have presets appeared first on CDM Create Digital Music.

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