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Indian E-music – The right mix of Indian Vibes… » 2018 » March » 26

FCC Announces Effective Date of Requirement for Public File Access to TV Shared Services Agreements

Delivered... David Oxenford | Scene | Mon 26 Mar 2018 4:53 pm

On Friday, the FCC released a Public Notice announcing that the rules requiring the inclusion in the online public file of TV station “shared services agreements” is now effective after having been approved by the Office of Management and Budget pursuant to the Paperwork Reduction Act. This obligation for TV stations to put in their public file agreements between independently owned TV stations for shared broadcast services (including shared news operations, accounting staffs and other operational matters) became effective on March 23. It was adopted in the 2016 FCC Ownership Order and the obligation was not changed in last year’s reconsideration of that order (see our summary here). Thus, new shared services agreements should be placed into the public file shortly after being entered into. Agreements existing before the March 23 effective date need to be added to the file within 180 days. As the definition of shared services agreements is very broad, seemingly including pretty much any kind of service other than an on-the-fly, single event-based news cooperation agreements and agreements totally unrelated to broadcast operations (like shared janitorial services), if your TV station shares services of any sort with another station in its market, talk to your attorney about whether that agreement needs to be included in your public file.

FM Translator Auction Scheduled For Mutually Exclusive Applications from First 2017 Cross-Service Translator Window

Delivered... David Oxenford | Scene | Mon 26 Mar 2018 4:44 pm

It appears that the FCC is attempting to clear its backlog of pending translator applications – and moving quickly to do so. On Friday, it released a Public Notice announcing a new auction beginning on May 15 for the small set of mutually exclusive applications left from last year’s window for the filing of FM translator applications by Class C and D AM stations, and setting the rules and procedures for that auction. While only 26 applications (in 12 groups of mutually exclusive applications – see the list in this Excel file) are involved in the auction, it shows that the FCC is trying to rapidly clear its decks of all remaining translator applications. Already on the FCC’s schedule, as we wrote here, is an auction of mutually exclusive translators left over from its 2003 FM translator window (for the rules adopted for that auction, see the FCC notice here). The FCC has also scheduled the filing of long-form applications for “singleton” applications (ones that are predicted to not cause interference to any other translator application or any existing station) from the window opened late last year for Class A and B AM stations to file for FM translators (see our post here on the opening of the long-form filing window for the translator applications), and long-form applications for applicants who were able to work out mutually exclusive situations in the first window so that they did not need to go to auction (see our post here). Still to be announced for applicants in that Class A and B window is the settlement period for applications that are mutually with other applications. Expect that announcement soon.

Moog recreate their 70s Minimoog Model D as an iOS app

Delivered... Peter Kirn | Scene | Mon 26 Mar 2018 2:50 pm

Knob for knob, detail for detail, the new Minimoog app looks like the original and models the model D circuitry. But the iPad/iPhone recreation also adds some new tricks.

And for anyone complaining Moog Music only make stuff for the rich – this will set you back five bucks.

Oh yeah – and forget Behringer clones. Here’s an app from the real Moog company, -‘:, if paired with an older model iPad or expected cheaper iPad models coming soon, does more for less. No pesky analog tuning issues, either.

The “Model D” is the original Minimoog – the 1970 keyboard legend that became the template for all monosynths to follow, and that led the Moog lineup for years to come. Actually, wait – let me let Bob Moog describe it:

Moog Music say they’ve closely modeled the original circuitry of the first model D. And because you have the control panel of the original, you also have direct hands-on control of the instrument – albeit with a touchscreen rather than physical knobs. (For comparison to the physical version, see Steve Fortner’s review of Moog’s hardware model D reissue.)

But it’s also interesting that you get some new features, without disrupting the instrument’s historical function. There’s up to four-note polyphony in a chord mode, and a built-in arpeggiator (which makes playing a touchscreen way more practical, too).

They’ve also added additional modules. So, there are effects – a tempo-synced stereo ping-pong delay module, and the “Bender” which does time modulation effects. These pop out of the top of the screen and look a bit like Moogerfoogers. And there’s a real-time loop recorder with overdub, turning this into an effective sketchpad.

Those additions do make this feel like a creative new entry and not just another historical recreation. But it’s hard not to be a little disappointed, lovely as the Model D is, that Moog didn’t consider making a genuinely new synth. Bob Moog’s own Voyager re-imagined some of the original Minimoog features, and part of what makes the Animoog app great is that it feels like it was created for the iPad, rather than just emulating existing hardware. Don’t get me wrong – a model D app is a no-brainer – but I hope if this is a success, Moog will consider some futuristic synths, too. The iPad is a blank canvas, and it’s be great to see what their engineers would do without the restrictions of hardware.

Then again, the iOS platform also lets you place that historical instrument in new contexts. The Model D app supports AUv3 extension support, so you can load it into other apps (including GarageBand), and even with multiple instances. Add some new effects, and you can make something very 21st century – even if the demo app is selling you on stuff like Devo and the Apollo missions.

The app requires modern hardware, but any 64-bit iPad, iPhone, or iPod touch will work. (So with some clever MIDI mapping, you could have a powerful synth powered by an iPod – and all the hands-on controls. Could be a neat DIY project.)

Here’s their demo video, which shows that this is compatible with … um, wearing socks.

I’m glad to have it, and it’s also worth noting that apps like that visionary Animoog are on sale now, too – so you can stock up on all the Moog apps for the price of a shirt from their store. Nice! That also includes the handy Filtatron app (which has been modernized and is really useful in conjunction with other software), and the Model 15, which is a terrific way to explore modular synthesis and learn about sound design.

Sale pricing:
Model 15 – $14.99
Animoog iPad – $4.99
Animoog iPhone – $1.99
Filtatron – $1.99

The app comes with a bunch of presets, with more presets as in-app purchases (interesting model there).

And whether you fancy yourself Kraftwerk or Michael Jackson, you now have access to the instrument possibilities those producers did. See where it takes you.

Look, I got through this whole review and avoided the word “iconic.” Wait – that one doesn’t count.

More at Moog:


And if you’re curious about the history of the Model D, here’s the nutshell history I wrote for Keyboard with the help of Moog Music, in celebration of its 40th birthday:

The Minimoog at 40: From the Dawn of the Synth Age to New Voyages [Keyboard Magazine, October 2010]

(Oh, yes, indeed: feature request, Moog, if you are going to create a Minimoog app, it’d be really fun to switch it into modes recreating the Models A, B, and C, which effectively only a few people have ever played! That’s an in-app purchase I’d gladly buy!)

The post Moog recreate their 70s Minimoog Model D as an iOS app appeared first on CDM Create Digital Music.

Bézier’s Guide To The San Francisco Bay Area’s Thriving DIY Electronic Underground

Delivered... By Bézier. Photo by Elizabeth Claire Herring. | Scene | Mon 26 Mar 2018 10:52 am

Considering that the San Francisco Bay Area is currently the global capital of high technology, it’s hard to imagine a time when that wasn’t a case. And, in fact, after the first internet bubble burst in the early ’00s, the city experienced a brief creative blossoming that attracted artists from around the United States. One of these people was Bézier (a.k.a. Robert Yang). He co-founded the Honey Soundsystem collective at the tail end of this moment, and recently released his debut LP Parler Musique on Josh Cheon’s Dark Entries label.

Needless to say, the San Francisco Bay Area has changed a lot since then, and the second tech bubble has proven to be more lasting and damaging to the city’s creative landscape. Despite this, Yang had a lot of positive things to say about the current San Francisco Bay Area scene when we met him in Berlin this month following his live set at Panorama Bar. Below you can find some words about his experiences in the early ’00s and then his guide to the growing local DIY movement. And if you like this guide, check out our prior guide to some of the other DJs and producers who make up the city’s musical cosmos.

“Back in 2006, when I was still exploring the surroundings of the San Francisco Bay Area, I was able to catch a few acts that reaffirmed my decision to move there. I remember seeing Sutekh (later popularly known as Rrose) commanding a dance floor in a squat-like apartment with melodies and tracks not unlike what you would hear on a Warp records release from the ’90s. Elsewhere, in a warehouse in the Dogpatch district, I used to attend Gentlemen’s Techno, a monthly underground event series that showcased live acts and DJs like Clipd Beaks, Bronze and Safety Scissors. In the heyday of the post-dot-com bust there was a promising field for new electronic music in the Bay Area.

2008 rolled around and the economic slump hit the country hard. But for some reason, the San Francisco Bay Area began catapulting economically and overnight hordes of technology companies began to appear, illuminating the grid of the Bay like a Christmas tree. Suddenly, DIY electronic musicians began to leave for Berlin, Los Angeles and New York City. Every year, the stable of musicians in the Bay Area seemed to decline.

Over the past few years, a new cohort of musicians, producers and sound engineers has started to appear. They have staked a claim to the landscape, and they’re using unusual locations to create spaces that fulfill the need for this music. The development of the scene seems to have quickly re-invented the culture in a very progressive way, with more people of color in the environs and way more queers and women.

Here are some of the artists who’re leading the charge in this remarkable revitalization of the San Francisco Bay Area’s DIY electronic underground.”

8ulentina & FOOZOOL, “Plasma” (2018)

Club Chai is the killer party that electronic music heads in the Bay Area have been waiting for. Their recent showcase for Boiler Room featured a cast of rising POC, queer and female producers. A lot of us have been waiting to see more people who look like us on a public platform, so this was a very welcome delight. Here, FOOZOOL & 8ULENTINA, the brains behind Club Chai, have released their first musical collaboration, a hard-rocking techno track for the recent Physically Sick 2 compilation.”

Piano Rain, “Love Is Energy” (2015)

Piano Rain (a.k.a. Aja Archuleta) has been in the local scene for several years. Specializing in live hardware sets, Archuleta has performed with Oakland-based dark electronics crew Katabatik, and she’s a regular at Club Chai as well as at Roche’s Run the Length of Your Wildness parties and the newly reincorporated Stud Club. Here’s a track from her that brings out that inner Diva Energy.”

Experimental Housewife, “Scoria” (2017)

Experimental Housewife is Evelyn Malinowski from Montana, USA who then lived in Berlin and finally in San Francisco. For over two decades, she has been working in the mediums of sound and art. With her track ‘Scoria’ you can hear the craft of her work. It’s a textured soundscape with gritty melodies that almost mimic the mood of the deconstruction of West Oakland’s industrial setting by new property development.”

The Creatrix, “D’lex N’ritja” (2017)

The Creatrix is Sylvia Viviana. Born and raised in San Francisco, she recently returned to her home town to rally her instincts. Viviana specializes in power electronics. Her track ‘D’lex N’ritja’ hits us both physically and psychologically. The track feels surreal, like you’re traversing a labyrinth accompanied by a warped John Carpenter-esque bassline. It makes you think of pulling levers to open up hidden passages. The punishing drum patterns feel like you’ve accidentally activated some contraption that shoots arrows aimed to penetrate the body.”

Indy Nyles, “Right Order This (Original Mix)”

Indy Nyles is a hardware specialist. He owns the Important Jogger label, and he’s a mainstay of the Oakland electronic scene. Nyles regularly performs throughout the Bay Area with live hardware and gear. Recently he became a resident of the Direct to Earth parties in Oakland. Listen to his atmospheric techno track and be transported into another dimension.”

Roche, “A Train To Nowhere” (2017)

Roche (a.k.a. Ben Winans) is co-creator, along with the late Cherushii, of the Run The Length Of Your Wildness parties in San Francisco. More importantly, Ben Winans has been performing and producing atmospherically psychedelic music as Roche for nearly a decade, with releases on Mathematics and 100% Silk. His ambient track ‘A Train To Nowhere’ is dense and ethereal. It’s a soundtrack to an edge of the world scenario.”   

Skander, “Death By Handgun”

“Skander, along with his twin brother Sohrab, has made their mark on San Francisco in the form of their record stor, RS94109. Located in the once-seedy but now trendy Tenderloin neighborhood, their in-store events and selection have helped to revitalize the city’s local music culture. This is a track from Skander off the brothers’ newly minted record label Through Greater Evil.”

See more photos from Elizabeth Claire Herring on Instagram.

Read more: 11 DJs and producers reviving San Francisco’s scene

The post Bézier’s Guide To The San Francisco Bay Area’s Thriving DIY Electronic Underground appeared first on Telekom Electronic Beats.

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