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Indian E-music – The right mix of Indian Vibes… » 2018 » March » 27

Steinberg adds AUv3 MIDI to their iOS DAW Cubasis

Delivered... Ashley Elsdon | Scene | Tue 27 Mar 2018 11:10 pm

Steinberg brings us the latest version of its flagship iOS DAW. Cubasis goes to version 2.4 and brings us one new main feature that will make power users and those who know what AUv3 MIDI is all about very happy.

Here’s what’s new in 2.4:

  • Audio Unit MIDI support – Playfully integrate third-party AU MIDI plug-ins such as arpeggiator, step sequencer and others like Bram Bos Rozeta Sequencer Suite (requires iOS11)
  • Files app support – Easily browse, search and organize all your Cubasis files – on your iPad, in iCloud Drive and across other cloud services (requires iOS11)
  • Maintenance and support

It feels a little short for a Cubasis release that isn’t just a maintenance. To be honest I was hoping for a little more in the next release of Cubasis. Not that AUv3 MIDI isn’t nice, but it wasn’t at the top of my list. Ideally I’d like to have seen a universal app or something on the way to that anyway. Perhaps that’s too much to ask for just yet. Maybe that will come later, in a Cubasis 3 maybe?

Anyway, Cubasis LE also got update, but the AUv3 MIDI functionality is in the IAP, so it doesn’t come for free.

The full version of Cubasis is on sale too, down from its normal price of $49.99 to $24.99, its Waves plugins IAP is also 50% off at $9.99. Cubasis LE is free, but with an IAP to get the full functionality.

Cubasis is on sale until the 10th of April

The post Steinberg adds AUv3 MIDI to their iOS DAW Cubasis appeared first on CDM Create Digital Music.

Watch an Ableton Loop talk that connects polyrhythms, synesthesia

Delivered... Peter Kirn | Scene | Tue 27 Mar 2018 6:16 pm

How are the Harmony of the Spheres, Isaac Newton, and polyhythms connected? Strap in for a journey with musician Adam Neely.

A bass player – educator – composer, Adam has a series of his own called New Horizons in Music. For Ableton Loop in Berlin last November, he got to present one session of those ideas live to an enraptured crowd. Now, Ableton gives you a guest seat to that show.

If you’re a fan of polyrthms, you’ll like where this is going. But it takes an unexpected path, starting with Alexander Scriabin, the Russian composer who experienced a perceptual connection of color to sound, and Isaac Newton’s color science. That basic notion about spectrum links color, perception, and rhythm.

It’s a wild, Wikipedia click-hole saga through music history, psychoacoustics, proportions, and theory. Since proportion can apply to rhythm and pitch alike – and since rhythms eventually are themselves connected to pitch – you eventually get a kind of grand unifying theory of music and polyrhythm. Watch:

(Quite a few of you likely have seen this already, as it seems it’s already a hit!)

This is just the sort of adventurous thinking that filled the best talks at Ableton’s Loop event. In that way, Loop served not just as a gathering around a tool, but that explored the entire ecosystem of ideas around the Live user community. And that seems a great model for what music tech can be.

Of course, all of this required getting to Berlin, and even there attendance was limited. So, fortunately, Ableton have set up a minisite where they’re sharing content you can take in at your leisure. (I was actually in Berlin, and I missed this one, so it’s great having video available for me, too, before you get jealous!)

You can find a collection of resources from Loop at the Loop minisite, with more content added regularly:


For instance, you can jump to a selection of talks and Q&A:


And for more of Adam Neely’s New Horizons in Music, head to his YouTube channel:


For instance, here’s more on synesthesia:

I’m looking forward to taking in more.

The post Watch an Ableton Loop talk that connects polyrhythms, synesthesia appeared first on CDM Create Digital Music.

April Regulatory Dates for Broadcasters – First Quarterly Issues Programs Lists in Online Public File for All Radio Stations and Other Important Dates

Delivered... David Oxenford | Scene | Tue 27 Mar 2018 5:04 pm

April brings with it a milestone – as it is the end of the first quarter since all radio stations have had to have their online public inspection file “live” so that anyone, anywhere, can view a station’s compliance with rules that previously could only be judged by going to the station and reviewing the paper public file. April 10, in particular, is important, as it is when Quarterly Issues Programs Lists, summarizing the most important issues facing the community which the broadcaster serves and the programs that the broadcaster aired to address those issues, must be in the online public file for all full-power radio and TV stations. We wrote about the importance of these sometimes overlooked documents here, as these are the only FCC-mandated documents that reflect how a station has served the needs and interests of its community. We have also noted that, in the past license renewal cycle, missing Quarterly Issues Programs lists were the source of the most fines issued to broadcasters. Now that compliance can be judged at any time by the FCC, their importance is only magnified. So be sure that you get these documents into your online public file by April 10.

EEO Public Inspection File Reports, summarizing a station’s employment record for the prior year, are also to be uploaded to a station’s online public file. For radio and TV stations in Delaware, Indiana, Kentucky, Pennsylvania, Tennessee, and Texas, these reports need to be completed and included in the public file by April 1 by all stations that are part of employment units with 5 or more full-time (30 hours per week) employees. In addition, radio stations in employment units with 11 or more full-time employees in Delaware and Pennsylvania, and TV stations in Texas with 5 or more full-time employees, also need to file EEO Mid-Term Reports, commonly referred to as FCC Form 397 applications. While the FCC is considering the abolition of the Mid-Term Report (see our article here), the obligation is still in place so, for now, stations must comply.

TV stations also must file with the FCC, by April 10, their Children’s Television Reports, detailing the amount of educational and informational programming that they have broadcast on each of their subchannels. Here, again, there are proposals at the FCC for reform of this requirement (see our post here), but as no action has yet been taken, this report must still be filed. In addition, TV stations must include in their public file documentation showing that they complied with the advertising limits in children’s television programming.

April also brings various filing deadlines for various groups of stations. TV stations changing channels as a result of the incentive auction must file a Transition Progress Report by April 10. This is filed on FCC Form 2100 – Schedule 387 (see our article here).

Low Power TV stations and TV translators displaced by the repacking of TV stations following the incentive auction can file for “displacement channels” (channels that are in the new core TV band and not blocked by full-power stations) in a window that opens on April 10 and runs through May 15. See our article here about that window.

Radio stations involved in the recent translator filing windows have some important dates in April. April 18 through May 9 are the dates for the window for long-form applications by AM stations that filed applications for FM translators in the second FCC window that was open late last year for Class A and B AM stations to seek FM translators (see our article here). Applications that were not found to be singletons in that auction (in other words, those applications that did conflict with other applications filed during the window) should be looking for the announcement in the near term by the FCC of a filing window for amendments to applications to resolve their mutual exclusivity.

Responses to the FCC’s latest EEO audit are due by April 12. See our article here about that audit, which notes that responses are to be posted in a station’s online public file, not filed directly with the FCC.

A number of reply comments in pending FCC proceedings are due in April. Reply comments in the FCC proceeding to abolish the filing requirements for certain FCC contracts are due by April 2 (see our summary of the FCC proposals here). Reply Comments on the FCC’s inquiry into the national cap on TV ownership are due April 18 (see our summary here). And, finally, comments on the FCC’s proposals for an incubator program are due April 9 (see our summary here).

Another busy month in regulation for broadcasters seems to be in store. Always remember to check with your counsel for other dates that we may have missed here that are important to your station.

‘Deeply weird and enjoyable’: Ursula K Le Guin’s electronica album

Delivered... Geeta Dayal | Scene | Tue 27 Mar 2018 8:31 am

In the 1980s, the sci-fi author teamed up with musician Todd Barton, inventing new instruments and a language to create Music and Poetry of the Kesh. Is the album any good?

The late Ursula K Le Guin wrote many well-loved novels, but few people know that the legendary science fiction and fantasy author once made an album. The strange and enchanting record Music and Poetry of the Kesh – which Le Guin created with the electronic musician and composer Todd Barton to accompany her 1985 book Always Coming Home – has been reissued, following Le Guin’s death in January.

Related: Don't know where to start? The essential novels of Ursula K Le Guin

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HK – Club Culture in an «Art Desert»

Delivered... Oli Warwick | Scene | Tue 27 Mar 2018 6:00 am

The metropolis Hong Kong is a world finance and multi-cultural capital. But when it comes to culture, local artists call it an «art desert». Yet, people like Ocean Lam and Jo.D from the underground club music scene are working on a change.

At the Epizode festival on the island of Phu Quoc in Vietnam, the predominantly Russian promoters invited DJs from across South East Asia to balance out the influx of Western and Russian artists on the line-up. Deep into the latter half of the ten-day event, two DJs stood out amidst scores of globetrotting house and techno names rolling out a slick, familiar brand of dance music. Ocean Lam and Jo.D didn’t have to move far from the standard pulse of de rigeur house music to sound different, but their particular taste shone through – a dark and seductive brand of machine music that drew on vintage European and American acid house and Dutch electro.

«All the music I just played is new», Ocean Lam explained to me on the dancefloor after her set, as her fellow Hong Kong native Jo.D followed along a similar line of leftfield body music. She later clarified she focuses on established labels like Detroit’s Motech as well as Singapore’s Midnight Shift and Germany’s Biotop and Serialism. As the music Ocean Lam and Jo.D played didn’t sound representative of where they came from, I wondered about the origins of the electronic music scene in Hong Kong – a city with a unique socio-political history, a primary hub for the global financial industry and home to one of the densest populations on the planet. Where was the sound of Hong Kong?

«Art Desert»

«Sad but true, the Hong Kong music scene is unhealthy from pop music to underground music», says Jo.D aka Jodi Chik. «This is probably the reason that Hongkong is called an art desert». Citing the dominance of commercial night clubs playing mainstream music and prioritizing celebrity culture over meaningful musical experiences, Chik also suggests that the underground electronic music scene features a similar «ageing problem» to Japan. There, less and less young people are going to clubs. The number of people that would go out to an underground night in Hong Kong on an average weekend would be 200-300 of which 30% are tourists. In a city of over seven million people, that’s a shockingly low turnout.

Lam talks of a worldwide problem: the majority of any potential crowd will choose to go to larger scale events with popular DJ’s rather than supporting lesser known artists in more intimate spaces. One issue that is unique to Hong Kong however is the close proximity of the clubs in HK Central, giving people the opportunity to flit between up to four venues in one night until they find the party with the most attendees. Lam considers the scene too small to sustain a clash of leading bookings, so she is careful to organise any guests for her Hypnotic party when there is no competition.

It didn’t always use to be so scarce – Chik talks fondly about 2.000-strong raves twenty years ago that eventually fell victim to police raids until the culture was quashed. Now a dedicated network of small-scale clubs and promoters fight to keep the scene alive against continued pressure. Ocean Lam talks with warmth about XXX, a private multi-purpose arts venue with a DIY ethos which is scheduled to shut down on February 10 after seven years of multiple relocations and resistance from local authorities, political parties, noise complaints and many other barriers to a venue operating successfully.

«For techno in particular, I think the city of HK has a real influence on producers.» Skyline of Hong Kong
(Photo © by Nextvoyage, 2018)

Traditional Music in HK?

But there are still positive forces in action. Social Room is a space built out of the ashes of another much-loved HK club, Bassment. Lam is heavily involved, running her Hypnotic event in the HK Central location as a hub for local and international guests. Small basement club Oma equally caters to the niche crowd that craves alternative sounds. Clearly the music that Lam and Chik are immersed in has a certain niche appeal that doesn’t communicate with a wide range of their fellow Hongkongers, but does that make it misrepresentative of HK culture?

«There isn’t really a traditional music from Hong Kong», argues Chik, «unless Cantonese opera, which would be way too much to bring into clubs or reproduce as tracks. Many Canton pop songs were not original – they were cover versions of legendary Japanese band Anzenchitai, or western bands like The Beatles, The Carpenters. English is the second language here so growing up Western music was part of our daily lives».

«I think we have lots of singers singing Cantonese pop songs», says Lam, «which maybe you could call traditional music as young people in Hong Kong love to go karaoke a lot. I think this is also another reason it’s harder to push underground music to young people here, whether it’s local or European music. HK is a mix of Western and local so I don’t think HK has its own sound at all», she adds. «However, we have a local label Typhoon 8 Records. This is the only label I would call local as Fresh Funky S has set up a studio and supports many HK-based Western and local DJs to start producing their own tracks».

Buildings, Humidity & The Speed of The City

Fresh Funky S is a French ex-pat who has lived in Hong Kong since 2010. He moved to the city to be with his wife, and at the same time became resident at Yumla, then the city’s leading techno club until it was shut down. As a driving force for the scene in a city halfway round the world from home, his perspective perhaps sums up the curious cultural flux that exists in HK.

«For techno in particular, I think the city of HK has a real influence on producers», Fresh Funky S explains. «The buildings, the humidity, the speed of the city – all these elements give a particular unique flavor to the music produced in HK. In Hong Kong the real problem is the club capacity is small, the licensing is tough and the rents are very high».

«The HK government is not very supportive of cultural things», explains Chik, «which makes it harder for artists who are trying to develop fashion, music and art in the city. It’s a significant global financial centre, with people speculating in selling property, stock markets. Cultural things are not profitable enough to be of interest to investors and authorities. HK has a unique mixture of cultures, but cannot bring them into play as there are too many barriers for artists to set up their own business».

Chik considers local talent to be stagnating in HK compared to their big neighbour China. «It’s encouraging to see nice clubs opening in different parts of China. Because of this many DJs are putting effort into touring in China, Vietnam and Korea. It is not easy for the HK music scene to bloom again, but many people in the scene are still dedicating all their resources to make this happen». My roots are definitely in HK. I grew up, studied and built my career here, but my sense of belonging in the city is getting worse lately due to political reasons».

Ocean Lam performing in a club in Hong Kong (Photo © by Promo, 2018)

How to Make an Art Desert Bloom

Despite the challenges posed to establishing a tangible culture in Hong Kong, Ocean Lam remains upbeat about the unique aspects of life as a DJ in one of the world’s most cosmopolitan cities. «On the dancefloor we have a versatile mix of locals and Westerners from many different countries», she explains. «It feels like they can really blend together, and for DJs it’s great training. We’re playing for a crowd from eight to ten different countries, and it’s very challenging. I’ve lived in HK my whole life», she adds. «I’ve travelled to many other countries and I still love living here. I have many European friends who used to live in HK and it’s like seeing an old friend when we visit each other. This is the charm of HK».

Fresh Funky S agrees that Hong Kong’s role as a global hub is a positive force in its emergent electronic music culture. «I think the HK scene is more advanced than the rest of Asia, perhaps excluding Japan, when you consider international exposure», he argues. «I think HK needs a little bit more time to establish itself but its time will come. Everything is based on a cycle and we are still at the beginning of our story».

The challenges of underground electronic music in Hong Kong are tougher than in some other cities, but there’s a resilient attitude that sees past the bureaucracy, high rents and small crowds. It’s not easy to build a cultural movement without the precedents that you might expect elsewhere, but the sense of being an oasis in this so-called «art desert» is a galvanizing force for those to put their energy into the music they love.

Read More on Norient

> Andrin Uetz: «Protest Music in Hong Kong»
> Brooke McCorkle: «Stuff that Dreams Are Made Of»
> Jeroen Groenewegen: «Asima, her Pimp and a Melancholic Boss»

Read More on the Web

> Olivia Wycech: «Hello: Ocean Lam»
> Richard Lord: «Five of Hong Kong’s best independent music labels embracing a growing scene»

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