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


Roli’s NOISE continues to get better and better with performance effects and more

Delivered... Ashley Elsdon | Scene | Mon 30 Apr 2018 10:18 pm

Roli’s NOISE app has been around for a while now and has consistently had updates to bring new functionality to make it better and better. Most notable for me was the inclusion of overdub, which made it so much more useful for me. This update includes some exciting new features to assist you taking your sounds further in NOISE.

  • Performance effects – From Crunchy Delays to Wobbbling Filters, you can now add even more expressivity with the addition of two effects slots and a variety of presets. Assign a Lightpad to either slot or control on-screen
  • AUv3 Updates – You can now play and record with your favourite NOISE Drum and Groove Kits in hosts such as Garageband with the addition of a new AUv3. Seaboard and Drum Grid visualisers have also been added to all plug-ins when used in full screen mode
  • Updated Navigation – The navigation has been consolidated to a single tab bar and dual screen support has been added on iPad, allowing you to control instruments on the right and either clips, mixer or effects on the left
  • Improved Performance – The app has been further optimised to improve performance on devices such as the iPhone 6 and iPad mini 4

Other improvements and fixes include:

  • Fixed multiple bugs in the sign up process, including a more responsive scrolling and quicker loading of T&Cs
  • UI Refresh of buttons and background
  • Fixed issue where pitch correction was jumping around when in hide mode
  • Fixed occasional stuck notes when stopping Learn Loops

We would love your feedback and are also here to help! If you have any questions, comments or problems, please check out support.roli.com. If you are enjoying your experience using NOISE we would really appreciate you rating it on the App store.

Roli’s NOISE is free on the app store with IAPs

The post Roli’s NOISE continues to get better and better with performance effects and more appeared first on CDM Create Digital Music.

AUSTIN CITY LIMITS LINEUP AND TICKETS ARE OUT TOMORROW!

Delivered... Spacelab - Independent Music and Media | Scene | Mon 30 Apr 2018 5:00 pm
Get all the deets.

May Regulatory Dates for Broadcasters – FCC Meeting, FM Translator and LPTV Filing Windows, Political Windows and More Consideration of Music Reforms

Delivered... David Oxenford | Scene | Mon 30 Apr 2018 4:13 pm

May is one of those months where there are neither deadlines for EEO Public File Reports nor for any of the quarterly filings of issues/programs lists and children’s television reports. But the lack of these routine filing deadlines does not mean that there are no dates of interest in the coming month to broadcasters and other media companies. As seemingly is the case every month, there are never times when Washington is ignoring legal issues potentially affecting the industry.

May 10 brings an FCC meeting where two items of interest to broadcasters will be considered. One is a proposal to abolish the requirement for posting licenses and other operating authorizations at a broadcaster’s control point and to eliminate the requirement that FM translators post information about the station’s licensee and a contact phone number at their transmitter sites (see our post here for more details). The second is a proposal to modify the processing of complaints about new or modified FM translators causing interference to existing stations. See our summary of that proposal here. If adopted at the May 10 meeting, these proposals will be available for public comment after they are published in the Federal Register.

The process that will lead to the issuance of construction permits to some of those new FM translators is still underway, as the window runs from May 24 through June 14 for filing settlements or engineering resolutions for mutually exclusive applications filed in the second window for AM stations to obtain authorizations for new FM translators (see our article here). Translator applications that cannot resolve their mutual exclusivity during this window will end up in an auction.   Applications that were not mutually exclusive with any other application filed in this second window have until May 9 to file their “long-form” applications detailing the technical facilities that they plan to build out once their construction permit is granted (see our article here).

TV translators and Low Power TV stations also are in the middle of their own window for submitting displacement applications by those stations that either operate on TV channels above Channel 37 (which will no longer be part of the TV band after the repacking following last year’s incentive auction) or on channels subject to new interference from full-power and Class A TV stations that were repacked onto new channels. That window is now open, and TV translators and LPTV stations have until June 1 to find new channels and submit applications for those channels to the FCC. See our articles here, here, and here for more information.

Comments in another FCC rulemaking, the one looking to do away with the requirement for the filing with the FCC of the Form 397 EEO Mid-Term Report are due today, April 30, with replies due on May 15. The FCC suggested that this is no longer necessary, as all the information required by the Commission is already in station’s online public file. See our article here summarizing that proposal.

In May, there will also be activity at other government agencies that broadcasters and other media companies should be watching. On Friday, we summarized the Music Modernization Act passed by the House of Representatives last week. That bill is supposed to get a hearing in the Senate on or about May 16 looking toward the possible passage of that legislation by the Senate.

The Federal Election Commission, in a rulemaking that it is conducting, is looking at requiring sponsorship identification on online audio and video political ads in the same format as those found on radio and TV ads (including the “I’m John Smith and I approved this message”). Comments on proposals made in that rulemaking are due May 26. We’ll have more on that proceeding later this week. Speaking of political broadcasting, stations in many states will soon be in lowest unit rate windows, if they are not already, for primary elections occurring this summer (see our article here on your LUC obligations). Watch for those windows as they come up in your state, and remember all of the political obligations that arise not only during the window, but as soon as you have legally qualified candidates (see our article here). For more information on the FCC’s rules on political broadcasting, you can check out our Political Broadcasting Guide here.

For a month without any of the “standard” FCC obligations, there are still lots of issues for broadcasters to consider. Make sure you pay attention to any of these issues that may affect you, and to any that are unique to your own station.

This Is Czeluść, The Post-Witch House Collective Bringing Next Level Bass To Poland

Delivered... By Dave Jenkins | Scene | Mon 30 Apr 2018 3:12 pm

The post This Is Czeluść, The Post-Witch House Collective Bringing Next Level Bass To Poland appeared first on Telekom Electronic Beats.

Bicep review – muscular, head-rushing tech house

Delivered... Ben Beaumont-Thomas | Scene | Mon 30 Apr 2018 1:06 pm

Roundhouse, London
The Northern Irish dance duo showcase their skill for ping-ponging melody and beautifully tooled drum programming, paired with magnificent visuals

Bicep cut a relatively rare shape in today’s live music scene – no longer mere DJs, they’re one of the few dance artists (alongside Eric Prydz and a handful more) to have built up a strong live show from their own work. The duo stand fairly statically behind hardware and a laptop as their symbol emerges behind them – a trefoil of three clenched biceps – and it is an apt one, hinting at the macho homosexuality of disco, the Celtic roots of their native Northern Ireland, and the sheer elemental punch of a kick drum.

The crowd is predominantly young twentysomethings from the “sesh” generation, all in Champion tees, with Ketflix and Pills on their phones and a propensity to get on each other’s shoulders. They cheer in recognition as familiar licks eke their way into the flowing mix, turning to festival pandemonium as the Indian vocal sample of Rain kicks in, an anthem for yoga-loving Ibizans. The exceptional visuals by Black Box Echo build to fill the stage like psychedelic Lego and, for Opal, Matisse-like colour blocking.

Continue reading...

Here’s what to learn to get a jump start on the new monome thing

Delivered... Peter Kirn | Scene | Mon 30 Apr 2018 11:35 am

SuperCollider? Lua? Huh? The latest creation from the makers of monome, norns, looks great. Here’s where to start learning the powerful sound engine underneath – which you can use on your PC or Mac right now, for free.

So far, from recommendations from the https://llllllll.co/t/approaching-norns/13236/”>thread introducing norns:

Supercollider tips, Q/A [thread on the monome forum]

The SuperCollider Book [a massive treeware tome from MIT Press – LinuxJournal have even done a review]

Learn Lua in 15 Minutes [the scripting engine that powers norns – but also a solid way to script SuperCollider in general]

Recommended tutorials for SuperCollider [from the source – and multiple languages]

Nick Collins’ tutorial

You may also want to check out simpler entry points into SuperCollider:

TidalCycles live coding environment [actually, this should also run on norns]

Sonic Pi

I’m sure there are other resources, so I’m just going to leave it there. Sound off if you’ve found a resource that helped you teach or learn.

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Deadbeat’s secret sauce Reaktor picks for “weirdo” production

Delivered... Peter Kirn | Scene | Mon 30 Apr 2018 10:39 am

It’s time for another trip into the strange and wonderful world of artist-created Reaktor ensembles. This time, our guide is dub techno maestro Deadbeat.

The Canadian-born, Berlin-based Scott Monteith is an artist whose chops are at peak maturity, from timbre to rhythm, recording to mix. And Scott’s latest, Wax Poetic For This Our Great Resolve, is both more personal — pulling from inspirational texts from friends — and more sonically intimate. The entire album sounds open and airy and organic, thanks to using acoustic re-recording of electronic elements. Every percussion hit, every synth line was either recorded in real space in the studio or recorded out of the box and into that open space and then miked.

Scott and I got to spend a pleasurably leisurely interview talking about the record, which I wrote up for Native Instruments’ blog:
Deadbeat on a return to hope, sound in real space

With all this focus on acoustic recording and re-recording, you’d think there wouldn’t be much to say about software – but you’d be wrong. There’s yet more shade and color around these sounds that’s produced by synthetic processing, a whole lot of it in Reaktor.

“There’s tons and tons of extra stuff that you would normally delete in vocal takes or guitar takes or whatever that ended up as sauce for feeding vocoders or feeding [Reaktor ensemble] grainstates,” says Scott, “or even some of the real classic [ensembles].” You’re hearing some of that in the hyperreal, clear color of the arrangements and mix.

“I think it’s nice to treat that stuff completely independently,” Scott says, “and then you end up with this bank of stuff that you know is going to be in key. And it’s somehow relatable, whether it be melodically or aesthetically – because you’ve fed it this stuff from a particular track. And then you go back to arrangement mode, because then I can take off my sound designer’s hat and put on my arrangers’ hat.”

Scott is confident enough in his skills to give that secret sauce away, so here’s a tour. Some of these are some long-lost gems of the library, too, so don’t expect to find them just by sorting for the latest or most popular ensembles. Some of these were used on this particular record, others represent a related techniques but have been used on other productions.

g-Transcoder
Gabriel Mulzer
Spectral vocoder/delay/reverb

“I’m using that just to add color to things. I love vocoders, period.

It’s like taking the vocals of Gudrun talking or Fatima talking, and using that as the modulator and the carrier signal being the chords in the track. Or it could also be the extra recording of the high hats in the room, and vocoding the vocals with that. So, then you have something rhythmic that’s the same, and in the same air, but then can be free as its own track. Or taking the guitar or the bass…”

GRIP Grain Cloud Synth
Uwe G. Hoenig
Polyphonic granular synth

“This is a playable one – this is one you can play with the keyboard. And you can load the oscillator is whatever you load into it.”

MOLEKULAR
Denis Gökdag / zynaptiq, Native Instruments
Modular multi-effects
KOMPLETE effect; available à la carte or in KOMPLETE ULTIMATE

“It’s fantastic. It’s beautiful. It’s a beautiful combination of super, super simple granular synth process combined with lovely lush reverb. And it’s just amazing.”

The Swarm
Eduard Telik
Random sound generator

“There goes a few hours of time,” says Scott. “This whole frequency modulation and detune and weird shit that’s going on in these guys is amazing.”

Ultimate Reverb
Guenther Fleischmann
Reverberator

“There’s this preset – ‘Coming Up From Hell.’ I use that a lot – I’ve been using that for years. If you’re rolling along, and you want to create density, it’s like, okay, flip this into the Ultimate Reverb, and all of a sudden you’ve got this underlying loud of ffffoooooosssssh. You’ve made things thick without adding another element.

And that with some sort of distortion, and some sort of sidechain compression to make sure that it doesn’t get in the way of anything — all of a sudden, you’ve created raging hell.”

grainstates
Martin Brinkmann
Granular effect processor

Don’t forget the granular Reaktor ensemble that started the craze. Martin’s landmark granular processor has had an influence even outside the Reaktor community on imagining how grain processing effects can be used as instruments.

Hacking together custom ensembles

The biggest advantage of using Reaktor as a modular environment is, you can hack together what you need if a particular tool doesn’t do exactly what you want. Scott long ago made his name as a Reaktor patcher, but don’t feel obligated to achieve mastery — even he doesn’t necessarily go that route now. “The last one that I did … this thing [Deadbeats] 13 years ago.”

The aforementioned Grain Cloud synth, for instance, he used to substitute oscillators inside a drum machine. Or with granular processors, he’s swapped a sample player with a live input, as on The Swarm. These aren’t complicated hacks – you barely need to know how to operate Reaktor to pull them off. But they then open worlds of new performance and sound design possibilities.

In another instance, Scott had a happy accident hacking mmmd1, the “morphing minimal drum machine” by grainstates creator Martin Brinkmann. That ensemble includes a series of assignable X/Y controllers which can modulate the filter, bitcrush, and so on, with step-based sequencing.

Scott tried applying a child ensemble with a crossfader for interpolating between presets – and that’s when he was surprised. “Because this is step-based, morphing between presets on this thing, as you would go across, it would go thththththththththt …. and you would get these totally twisted, glitchy crossfade things.”

Thanks, Scott! Got more favorite Reaktor ensembles, other granular tools, or the like? Let us know in comments.

Deadbeat on a return to hope, sound in real space [NI Blog]

Deadbeat Wax Poetic For This Our Great Resolve [Review: XLR8R]

https://soundcloud.com/deadbeat

The post Deadbeat’s secret sauce Reaktor picks for “weirdo” production appeared first on CDM Create Digital Music.

Auxy 5.1 brings a new redesign to make your work flow better

Delivered... Ashley Elsdon | Scene | Sun 29 Apr 2018 11:12 pm

Auxy has been making it easier to make whole tracks since December 2015, and version 5.1 takes it another step forward. In this version AuxyCo have redesigned scene view and a number of improvements to simplify track making:

  • The scene view can now be open while you arrange loops
  • New play controls let you skip between scenes and toggle loop mode on/off without opening the scene view
  • Loop and scene previews have been redesigned to make things easier to find
  • Loops can now be labeled
  • New color options added for instruments
  • Each row of loops now fills the entire screen width
  • Loops that are not active in any scene will get slightly dimmed and thereby easier to find if you want to delete unused loops in a project
  • You can now solo an instrument while while you tweak the sound
  • Sound tweaks can now be accessed in the loop editor
  • Long-press a sample slot to copy and paste it
  • Tap the tempo slider to change the tempo one BPM at a time
  • The maximum tempo has been increase to 300 BPM
  • Exported stems and MIDI files should now have proper names

Please note that the export options have been moved to the settings page.

Also note that they have replaced the original demo sounds with a smaller set of “free” sounds. The main reason is that they want to increase the quality of the sounds that new users get to test. We also want to make it clear that Auxy is a premium app and we are committed to building an awesome experience for paying users. Thank you all for supporting!

In addition, they’ve fixed a bunch of bugs just as you’d expect:

  • Fixed a crash when opening project links
  • Fixed various iCloud issues
  • Fixed packs sometimes not unlocking right away after the subscription has been renewed
  • Prevent project files from breaking in rare cases

Auxy is now free on the app store with a subscription

The post Auxy 5.1 brings a new redesign to make your work flow better appeared first on CDM Create Digital Music.

Sonic Logic 3 lands with a whole set of new features and a solid foundation to build on for the future

Delivered... Ashley Elsdon | Scene | Sun 29 Apr 2018 10:14 pm

Sonic Logic has been around since 2012 and now launches version 3 which is a complete overhaul of the app’s with new features galore. Here’s what’s new:

  1. Multiple MIDI destinations – Control multiple MIDI destinations from one component. Component can now map up to eight different destinations (Channel, CC, value or type). Create complex button, knob and slider mappings. Multiple MIDI destinations also work with timed transition buttons, so one tap of a button can trigger complex timed transitions to multiple destinations.
  2. New top bar and workflow – The new top bar replaces the legacy one with a better workflow, the top bar has a built in MIDI out output indicator, showing exactly what MIDI values are transmitted out. The legacy components selection bar has been replaces with the new component creation screen.
  3. Tab bar – The screen selection and controls have been replaces with an easy and more visible tab bar.
  4. Connection center – All of the outgoing connection has been put into one managing screen, tapping on the connection panel anywhere in the app opens it and it’s a one stop shop for all types of connection.
  5. MIDI Logger – the MIDI logger logs all outgoing MIDI traffic, you can easily monitor what data is transmitted in a session. The logger holds up to 10,000 records.
  6. Component creation screen – The new component creation screen has easier controls for selecting component types, presets and edit controls.
  7. Detailed edit screens – The detailed edit screens have been refactored for better control. The group edit screens now allows access only to relevant edit data from a complex group, making it easier to select what traits are changed in a group.
  8. Better support for 10.5” and 12.9” devices – Almost all components have been redrawn to fit beautifully on 10.5” and 12.9” screens and are fully scaled for large devices. 12.9” devices can work with two sizes – normal or large, both are fully scaled.
  9. Redesign simple edit screens – The simple edit screens now show better grouping and have a blurred background to preserve the work context. Almost all modal screens have been enhanced with a similar effect.
  10. Fixes and tweaks – Bugs squashed and a lot of over perfectionist code has been written to enhance tiny bits of the overall experience.

Sonic Logic costs $9.99 on the app store

The post Sonic Logic 3 lands with a whole set of new features and a solid foundation to build on for the future appeared first on CDM Create Digital Music.

Tonebridge brings personal presets that can be shared back to their main catalogue in version 2.3

Delivered... Ashley Elsdon | Scene | Sun 29 Apr 2018 9:13 pm

Tonebridge 2.3 brings us a whole new dimension to the app with a new ability to create presets from scratch and even publish them to the app’s main Catalog so that users anywhere can access them.

  • Create your own presets
  • Choose from 29 amps, 30 pedals, 26 cabinets and 8 mics
  • Copy and modify presets from the Catalog
  • Add your own cover pictures
    …aaaaand:
  • Publish your own presets to the Catalog and make them available for everyone!

Note: Personal presets are in beta test. Presets that you make are stored locally on your device only and will be lost if you delete the app.

Other things in this update:

  • Cover pics are now more visible and rich
  • Better preset animation
  • With mixed feelings decided to rename “Tone Wizard” to a more obvious “Edit”
  • Tons of minor improvements

Tonebridge is free on the app store with IAPs

The post Tonebridge brings personal presets that can be shared back to their main catalogue in version 2.3 appeared first on CDM Create Digital Music.

Grid Music 2.2 brings new velocity cells to this innovative and flexible sequencer

Delivered... Ashley Elsdon | Scene | Sun 29 Apr 2018 8:57 pm

Grid Music 2.2 is another great update to this already powerful and versatile MIDI sequencer. Grid Music can be used to compose classic 16-step patterns, but can also create loops, random branches, and polyrhythms too. In many ways it’s more like a creative sequencing workshop.

Anyway, here’s what’s new in Grid Music:

Velocity cells (stars) change the loudness and MIDI velocity of all notes when active. If a velocity cell is set to the lowest value, it is a rest (labelled “—”). If a rest is active, note cells will not make any sound and no MIDI note messages will be sent on that step.

Use velocity cells to add dynamics to your patterns, or create variations on a sequence of notes by adding a sequence of rests with a different interval. The new “16 Step Velocity” template can be used as a starting point for this technique.

  • New: Octave Range

You can now adjust the range of note cells from 1 to 5 octaves.

  • New: Added templates featuring velocity cells.
  • Changed: The default MIDI velocity is now 80, or mezzo-forte (labelled “mf” on velocity cells).
  • Changed: The full volume of the built-in synthesizer is louder.
  • Changed: The Shift setting has a wider range, from -3 to +3 octaves.
  • Changed: Pattern Length is now called Measure Length.
  • Fixed: The Play button is now easier to tap.
  • Fixed: Playback no longer stops when deleting the current pattern (if there is one before or after to replace it).
  • Fixed: Document thumbnails would sometimes not be updated.

Grid Music is on the app store now and costs $4.99

The post Grid Music 2.2 brings new velocity cells to this innovative and flexible sequencer appeared first on CDM Create Digital Music.

Crudebyte brings a significant raft of new features to Colossus Piano 2.0

Delivered... Ashley Elsdon | Scene | Sun 29 Apr 2018 4:54 pm

Crudebyte have been responsible for a number of interesting and powerful instrument apps and audio units for iOS. Now Colossus Piano 2.0 arrives with a bunch of new features and of course a range of fixes as one would expect.

  • Introduces “App States”.
  • Introduces native iPhone X support.
  • Significant speed improvements when switching between piano models and/or sound variants.
  • Unified tuning dialog with master tune, static scale tuning and dynamic tuning (Hermode Tuning).
  • Adds extended features to the virtual on-screen piano keyboard.
  • Adds optional MIDI device configuration screen.
  • Latency down to 1ms now available.
  • Adds info resources (including user manual).

2.0 includes a number of software corrections, most notably:

  • Audio Unit: Addresses audio export (“offline rendering”) issue (introduced by iOS 11).¹
  • Inter-App Audio / Audiobus: Fixes crash which could happen (with iOS 11) when the app was launched from either Audiobus or as IAA from a third-party DAW app.
  • Fixes touch latency of 1s on virtual on-screen piano keyboard (introduced by iOS 11).
  • Fixes several potential crashes when switching between sounds.
  • Fixes issue with manual polyphony and latency settings.
  • Fixes piano image disappearing from main screen under a rare condition.
  • Numerous other minor UI corrections.

Colossus Piano is free on the app store but requires a number of IAPs to extend its functionality

If you don’t know the app, here’s some more detail on what to expect:

Colossus Piano sets a new standard in terms of realism, detail and overall quality of piano sounds on your iPad, iPhone and iPod touch. There are 8 acoustic piano models available as 8 individual in-app purchases, plus 5 E-Piano legends bundled as 1 sound set with this app, together those 13 piano models make up 30 Gigabyte of sound material. All keys of all piano models were recorded in full length with a recording quality of 24 bit and 96 kHz stereo.

Note: this app requires in-app purchases to provide its functionalities!
Minimum Requirement: at least iPad 3 / iPad Air 1 / iPad mini 2 / iPhone 5 / iPod touch 6th gen.
Recommended: iPad Air 2 / iPad mini 4 / iPad Pro / iPhone SE / iPhone 6s or higher.

The dark brown „Colossus Concert Grand” model:

  • 24 velocity layers per key.
  • Sympathetic resonance (sustain sound).
  • Release hammer sound.
  • Optional pad sound.
  • 14 GB in size (SSD space).

The white „Baby Grand” model:

  • 12 velocity layers per key.
  • Sympathetic resonance (sustain sound).
  • Release hammer sound.
  • Optional pad sound.
  • 6 GB in size (SSD space).

The „Upright Piano” model:

  • 8 velocity layers per key.
  • Sympathetic resonance (sustain sound).
  • Release hammer sound.
  • Optional pad sound.
  • 3.4 GB in size (SSD space).

The „E-Piano” sound set:

  • 5 legendary E-Piano models (plus different model generations or configurations).
  • 17 E-Piano sounds in total.
  • Optional pad sound.
  • Optional tremolo effect.
  • 1.6 GB in size (SSD space).

This app supports Audio Unit v3, Inter-App Audio, Audiobus and Bluetooth LE MIDI !

Software features:

  • Modulation wheel support for controlling the most relevant sound parameter of the currently selected sound.
  • Warm pad sound of a well known analogue synthesizer (not available for all models) can be turned on/off as support for the piano sound; volume can be controlled by mod. wheel and expr. controller.
  • Sustain pedal support for holding notes.
  • Sostenuto pedal support for holding individual notes.
  • Soft pedal support for a more gentle sound.
  • Expression pedal support for controlling optional pad layer’s volume.
  • Hammer sound when releasing keys, uses round robin, can be turned on/off and volume controlled (some acoustic pianos only).
  • Polyphony of up to several hundred stereo voices.
  • Low latency disk streaming.
  • Configurable audio latency down to 1 ms.
  • Integrated effects (18 presets).
  • App States: Save app’s entire state as user presets.
  • MIDI velocity response curve editor.
  • App can keep running in the background.
  • Master Tune, Scale Tuning & Hermode Tuning.
  • Provides Audio Unit v3 plugin version of this app, which allows it to be used as virtual instrument directly within 3rd party multi-track DAW apps.
  • Supports Apple’s “Inter-App Audio” system.
  • Audiobus support.
  • Virtual on-screen piano keyboard with velocity support, scalable & scrollable.

MIDI Player / Recorder:

  • Record, save and load your songs in standard MIDI file format.
  • Share your songs easily as audio file.
  • Unlimited amount of tracks.
  • Unlimited recording and playback length.
  • Open MIDI (.mid) files directly from other apps (i.e. from Safari, Mail).
  • Download or upload MIDI files with iTunes.
  • Metronome.
  • Use the “Tempo Zoom” dial knob to i.e. slow down playback at any time, learn your favorite songs more easily.

 

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Loads of VirSyn synths and FX go on sale

Delivered... Ashley Elsdon | Scene | Sun 29 Apr 2018 3:42 pm

There’s loads of excellent apps on sale from VirSyn right now. Click on any app name to take you straight to the app store.

microTERA is down from $9.99 to $6.99
BandShift is also down from $9.99 to $6.99
ReSlice is down from $14.99 to $9.99
Tera Synth is on sale and down from $19.99 to $11.99
Addictive Pro is down from $19.99 to $11.99
Poseidon Synth is half price at $9.99 and is also updated with AUv3 with parameter automation
Emo Chorus is down from $4.99 to $2.99
Tap Delay is down from $6.99 to $4.99
Bark Filter is down from $9.99 to $6.99
AudioEffX is down from $9.99 to $6.99
AudioReverb is down from $6.99 to $4.99
Harmony Eight is down from $9.99 to $6.99

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Jon Hopkins: ‘Psychedelic experiences inspired this album’

Delivered... Killian Fox | Scene | Sun 29 Apr 2018 8:00 am
The musician on film scores, technological developments and the natural highs behind his new album, Singularity

Born in Kingston upon Thames in 1979, the musician and producer Jon Hopkins studied piano at the Royal College of Music before turning his hand to electronic music. He has released four studio albums, including the 2013 critical smash Immunity, and has collaborated with artists as diverse as Brian Eno, King Creosote and Coldplay. Hopkins’s mind-bending fifth album, Singularity, is out this Friday on Domino. He plays London’s Village Underground on 10 May.

You said on Instagram recently that you knew you’d make this record 15 years ago but only figured out how to make it in the past couple of years. What twigged?
I knew a few things in advance, including the title and the idea of the album starting and ending with a really simple tone. I also wanted there to be a symbiotic relationship between all the sounds, so that everything would seem to grow out of everything else. But I was still figuring things out back then – if I was a visual artist, you would say I was still learning how to draw – so I needed to get the basics right before trying to be conceptual and ambitious.

Continue reading...

There’s a do-everything music box coming from the maker of monome

Delivered... Peter Kirn | Scene | Sat 28 Apr 2018 3:54 pm

From the creators of the monome grid, there’s a teaser out now for a new standalone box that could replace the computer for various creative tasks – and that builds on the legendary mlr patch.

The story so far

The monome 40h was arguably the most important first invention in electronic music in the century’s first decade. Its minimalist aesthetics broke from industry norms at the time (and earned accolades in modern art museums, even). It set the tone for music products built on open, community-driven ecosystems. It defined the grid as paradigm for computer music interaction, and in particular a bi-directional relationship that gave feedback with lights. And it set up the value of a controller combined with software to create new interactions with digital sound. Every single one of these things has been endlessly duplicated by makers big and small – it’s actually pretty astonishing just how much Brian Crabtree and partner Kelli Cain were ahead of the curve.

But the thing that really made the original monome 40h work wasn’t that it was an undifferentiated grid. That made a strong visual statement, but Yamaha’s Tenori-On did that, too, and had nowhere near the impact. The monome community took off as music makers, spawning albums, meetups and festivals, and eventually seeing controllers from Novation, Akai, Ableton, and others follow suit, partly because of the software that went with the grid. mlr, build by monome’s Brian Crabtree in Max/MSP, gave the grid musical utility by carving up samples into grids and allowing them to be triggered rhythmically.

tehn with monome prototype from tehn on Vimeo.

At the same time, this meant monome users were tethered to computers. And that destroys the image of the monome as a singular instrument. Brian has had some ideas over the years that could help users get away from that, including the teletype algorithmic module. But the new thing he’s teasing most resembles the previous aleph – a standalone computer stand-in powered by a DSP platform.

If the beginning of the century was about figuring out how to create a computer and controller combination that worked (see Ableton Live, Maschine, et al), maybe now we’ll finally tackle new standalone instruments built on the open-ended possibilities of software.

norns

norns: approaching from tehn on Vimeo.

norns is the new monome box. And like teletype and aleph, it seems to be built around making a dedicated computational device that’s focused on typing as an interface.

Brian has composed some lofty text around what this thing is about, but I’ll … reduce a little.

It looks beautiful – a luxurious block with minimal encoders and display. And the opening teaser “poem” suggests that it can do a variety of tasks related to sound, interfacing, and control (MIDI and CV):

changes.
travels.
knows something.
adores grids.
cuts sound.
shapes, filters, folds.
keeps rhythm, tells time.
summons waves.
tapes digitally.
speaks lua.
pixels.
controls voltages.
can MIDI.
radios OSC.
gamepads.
tracks, tabulates, calculates.
sings robot melodies.
shows picture.
makes music.
brings light.
loves birds.
waits patiently.

It’s also nice to see a musical intro, which is how Brian brought out the original grid.

Okay, so it loves birds. But what is it?

It’s a scriptable, connected box with a DSP engine for sound and loads of inputs and outputs for interfacing. Specs:

audio.

1/4″. 2 output. 2 input with analog gain stage. all line level. (1)
1/4″ headphone with gain.

interface.

128 x 64 OLED, 16-level bright white huge pixels.
3 rotary encoders, standard resolution.
3 keys.
rear status LED indicating power and disk access.

interconnect.

4 x USB ports for devices.
serial tty via USB-mini.

power.

power/charge via USB-mini (high output USB power supply included).
internal lipo battery 2250mAh.

processsing.

compute module 3 SoC. quad core 1.2ghz, 1gb RAM, 4gb eMMC (faster and more reliable than an sd card).
cs4270 i2s audio codec (low latency).

os.

linux with realtime kernel. (2)

We’ve also got a pic of the PCB:

Now, this is way more like what I’d want than the original, Bluefin DSP-powered aleph. USB allows connections to MIDI, OpenSoundControl(OSC), HID (so various stock USB hardware like mice and joysticks), footswitches, and even CV (over USB, that is). Those technical details got updated today:

https://llllllll.co/t/approaching-norns/13236/213

It’s the way it’s scripted that gets interesting. Not only is it scriptable with Lua, but the plan appears to be to make an online IDE and community database of scripts, so you can load up a granulator or a delay somebody as built and play with it right away. tehn also promises some interesting features like keypress performance – it’ll be interesting to see how that online scripting works in this golden age of musical livecoding.

Brian also gets into some details of his next take on mlr – an “evolution,’ he calls it – which may be what sells this thing:

virtual tape loops are mapped to grid rows where playback position is displayed and key presses cut to the location.

playback speed (with reverse) is mapped to the grid in addition to record punch in and overdub.

keypresses can be recorded and played back in patterns to automate gestures.

within the cutting interface smaller sub-loops can be selected and looped.

there’s a lot more.

He’s also added more on the first sound capabilities:

norns: cuts from tehn on Vimeo.

sound

in order:

super-parameterized polysynth by @zebra
old-akai-style sampler by @jah
simple percussive polysynth by @tehn
classic outerspace noise by james mccartney
multitrack granulator by @artfwo

norns has two sides: control scripts and sound engines.

the script chooses which sound engine to use. and decides what to do with key and knob input and midi notes and grids. and then considers what to draw on the screen or start a sequencer. and tell the sound engine what to do. (1) or how to sound.

the sound engine tells the script what parameters it has and what kind of analysis data it produces.

it’s a bit like a plugin in a DAW. except here the DAW is the language lua, and the plugin is the entire supercollider environment. (2)

Only 100 aleph units were ever made. It’ll be interesting to see if this makes it further. While it’s easy to knock commodity computers as ugly and inelegant, they’re also what allows access to this kind of music making for most people. Look no further to the livecoding movement, which does this on hardware that can run as cheap as a Raspberry Pi – and which is accordingly spreading all over the world, including in markets where importing gear is expensive.

Then again, that being the case, it remains nice to see something luxurious and beautiful and artful, even if a symbol of what the rest of that can be. We’ve had expansive conversations with Brian since the beginning of his project, so let us know questions for him and we’ll check in.

In the meantime, the monome community are more than a little excited over on the forum.

https://llllllll.co/t/approaching-norns/13236/126

Oh, and they did find the reference in the name:

“The Norns (Old Norse: norn, plural: nornir) in Norse mythology are female beings who rule the destiny of gods and men. They roughly correspond to other controllers of humans’ destiny, such as the Fates, elsewhere in European mythology.”

Well, then, let the Norns decide how this one plays out. But we’ll be watching.

Want to start learning now?

norns is powered by free software. If you’re thinking you might like to get a norns for yourself – or if you just want to play with sound tools now on your existing computer, for free – I’ve started putting together some resources on SuperCollider and Lua that will help sound DIYers:

Here’s what to learn to get a jump start on the new monome thing

(not my greatest headline ever, but you get the point!)

The post There’s a do-everything music box coming from the maker of monome appeared first on CDM Create Digital Music.

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