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Indian E-music – The right mix of Indian Vibes… » 2018 » May » 03


Legal Issues for the Broadcaster in Digital and Social Media Advertising

Delivered... David Oxenford | Scene | Thu 3 May 2018 4:42 pm

Last week, Aaron Burstein of our law firm and I conducted a webinar for several state broadcast associations on legal issues in digital and social media advertising. As broadcasters become more active in the digital world, whether it be through social media platforms like Facebook and Twitter, or by posting their content online through their own websites, through platforms like YouTube, or by streaming their content directly to the consumer, commercial broadcasters need a way to monetize their efforts. So advertising follows the broadcaster into these new platforms. In providing these advertising opportunities, broadcasters need to think of the ground rules that they may not have considered in depth before – including restrictions on certain types of advertising imposed by the terms of use of social media platforms like Facebook and YouTube; or oversight by government agencies like the FTC on issues including the disclosure of sponsors, the statements made by celebrity endorsers, privacy and security of data, or advertising directed to children. We covered these issues and many others in our presentation, the slides for which are available here.

This presentation forms a good companion to my broader presentation on digital and social media issues for broadcasters, a link to which can be found here. Today’s broadcaster is no longer subject to just the rules of the FCC, but must be aware of regulation from many other government agencies as the broadcaster’s content becomes available not just on the air, but on the many other platforms that virtually all broadcasters use today.

Readers recommend playlist: songs about pragmatism

Delivered... Samantha Birchard | Scene | Thu 3 May 2018 12:00 pm

Among artists picked for seeing things as they are come Run DMC, Van Morrison, Nina Simone and Beyoncé

Here is this week’s playlist – songs picked by a reader from hundreds of your suggestions last week. Thanks for taking part. Read more about how our weekly series works at the end of the piece.

War, infidelity, flat tyres – the musicians in this week’s playlist will put up with a lot to keep life running smoothly. Pragmatism can be painful, or it can be an effective strategy, depending on your perspective.

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DJ Koze: Knock Knock review – stunning songs from pop’s parallel universe

Delivered... Alexis Petridis | Scene | Thu 3 May 2018 12:00 pm

The eccentric producer uses samples and collaborations to brilliantly exploit the spaces between deep house, trip-hop and R&B on an appealingly odd album

In January 1987, Smash Hits tried to address the unexpected rise of house music by printing the lyrics to Steve “Silk” Hurley’s chart-topping Jack Your Body. In an attempt to circumvent the fact that the lyrics to Jack Your Body consisted entirely of the words “jack your body” repeated ad infinitum, the page was padded out with parenthetical descriptions of how the record sounded: “(Rather a long bit where it goes bing bong diddle a lot, then sort of dum-de-dum).” If the 21st century equivalent of the song words in Smash Hits is the YouTube lyric video – a phenomenon kickstarted by a cheap placeholder clip for Cee Lo Green’s 2010 hit Fuck You, and now warrants its own category at the MTV video music awards – then its Jack Your Body moment may have come with the release of DJ Koze’s Pick Up, a single that preceded this fifth solo album, Knock Knock. It was promoted with a video featuring nothing more than white words on a black background, offering not just its three lines of lyrics but a wry running commentary on the track: “vocal sample … beat kicks in … disco sample loop x6 … brain realises song consists only of these few elements … deep feeling of happiness” etc.

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Bastl do waveshaping, MIDI, and magically tune your modules

Delivered... Peter Kirn | Scene | Thu 3 May 2018 11:40 am

With a lumberjack-themed timbre-shaping module and a powerful auto-tuning MIDI interface, Czech builder Bastl are back to modular. And they might just solve polyphonic tuning in Eurorack, finally.

Bastl Instruments have staked out the quirky end of synth manufacture in past years. But this is probably the biggest modular news since their rollout of a whole line in 2016. There are just two modules coming out this week, but those two are each pretty powerful – and more is in store.

TIMBER

TIMBER (get it?) is a timbral-themed “Dual Waveform Lumberjack” module. There are two wave shaping circuits, each inspired by the sought-after, unique sound of the Serge Modular – a design beloved by composers since its early 70s introduction at CalArts, and one that has seen a resurgence (uff, sorry) of interest.

Best idea here: you can crossfade easily between signals, including using an external input.

It’s one of the friendliest, most sonically interesting modules we’ve seen from Bastl, and it looks like it just might be a must-have.

Cost: €170.00, shipping in July.

http://noise.kitchen/shop/bastl/timber/

1983

Okay, on the surface, this is a MIDI-to-CV module with a clever name (the year MIDI was first demonstrated).

But it’s more than that. It’s actually a solution to creating polyphonic racks without having everything fall out of tune. And while microtonal and experimental music is good fun, you generally don’t want those microtones being accidental because you can’t get your modules working together.

I’ve been talking to the Bastl engineers for some months about this problem, especially as virtuoso Brno musician HRTL, who has worked with Bastl on this problem, has been keenly working on a solution. (HRTL’s Windowlickerz duo with Oliver Torr makes heavy use of thick polyphony – and keeps it in tune.)

Here’s how it works: you get four channels of CV and gate. Each channel listens to the waveforms and with a press of the TUNE button, adjusts to whatever tune you want. It’s basically the same idea as having an orchestra tune – think of the 1983 unit as the oboe. It even maps across seven octaves.

There are a bunch of other features here, including transposition and other creative features. It could prove to be one of the most important modules of the Eurorack age, because it finally opens the format to practical, modular polyphony. Sure, you could add a polyphonic module, but that rather defeats the purpose of customizing a rack in the first place.

No pricing yet, but they promise “around 250EUR.” Due in September. We’ll watch this one.

http://www.bastl-instruments.com/modular/1983-2/

More news

Last time we caught up with Bastl at Superbooth, they had unveiled their own line of roasted coffee. (Seriously.) They’re up to more now, too. THYME, shown last year, is finally shipping at 439EUR. And they’re heading to host events in Prague and Brno, Czech, helping open the new _ZVUK_ and Synth Library spaces in Prague, co-organizing a festival, and releasing music on their new Nona records label.

More on that later.

The post Bastl do waveshaping, MIDI, and magically tune your modules appeared first on CDM Create Digital Music.

Roland’s new SYSTEM-500 modules, and why you might want them

Delivered... Peter Kirn | Scene | Thu 3 May 2018 11:06 am

There’s East Coast (Moog), there’s West Coast (Buchla) … and then there’s much further East. Roland’s SYSTEM-500 descends from the Japanese modular tradition. Now we have the details of their latest Eurorack renditions.

The SYSTEM-500 continues the collaboration between Roland and Portland, Oregon-based boutique maker Malekko Heavy Industry. CDM broke the story (at least in English) when the SYSTEM-500 made a cameo at an event in Berlin.

The other important thing to know is that Roland has taken some of the inspiration for the design of these modules from its early 80s SYSTEM-100M (which in turn drew from the 70s SYSTEM-100). They’re not reissues and they’re not copies – but they do take some sonic features and the interface approach from those modules. With much of the boutique community drawing from Buchla and Moog, this means Roland is a little different. At the same time, since they aren’t slavish recreations (except giving you the SH-5 filter, for instance), you get a slightly more up-to-date take on what these things are about and who they’re for.

Hey, Roland, you could also do a MIDI interface and call it the MPU.

SYS-510

Cost: US$399.99 street

The pitch: A place to get started

What it is: It’s an all-in-one synth module – basically three modules in one to get you started with a single voice. You get an oscillator, a filter, and an amplitude envelope. The idea is to give you a single module that gets your modular started. You could actually bolt this into a rack and get started – it takes inputs and outputs line output so you could hear what you’re doing. And while there are competing modules that do the same, this one is pretty economical, and it comes from Roland’s own heritage – it’s modeled on the early 1980s 100m Roland synth, which also had the goal of being a starter synth.

SYS-555 LAG/S&H

Cost: US$349.99

The pitch: A modulation source

What it is: It’s modulation in a box. Think ring modulation, waveforms, an LFO, noise, and portamento you can route into your other modules. This one is also 100m-based.

SYS-531 MIX

Cost: US$399.99

The pitch: A mixer in a module

What it is: The 531 also draws from the 100m history, but the important thing is really that it’s more of a conventional mixer in modular form. Now, part of the appeal of Eurorack is frankly that it is esoteric – but musicians at some point may expect mixers to behave more like mixers. So while you do get some voltage control (for panning), the appeal to me of the 531 is that it has, like, mixer faders and pan pots you can easily reach out and grab. There are even LED meters so you can see what you’re doing.

Oh, and you can plug line and mic level inputs here, too, so you can combine instruments and voice easily. Roland promises “boutique-quality,” “high-fidelity,” “low-noise” circuitry on this unit, which I take to mean it doesn’t suck. And the mic pre can be pushed into “pleasing overdrive.”

SYS-505 VCF

Cost: US$349.99

The pitch: The signature Roland filter from the SH-5

The SH-5 is a Chinese maritime patrol amphibious aircraft — wait. Sorry, wrong link. The Roland SH-5 was the 1976 classic of roughly the same generation as the SYSTEM-100 modules. Just as Moog made the Minimoog as an all-in-one keyboard monosynth with features of its modular system, so Roland made the SH-5 as its ready-to-play keyboard. And the SH-5 might be a household name with casual synth enthusiasts today, had Roland not eclipsed their own legacy with better-known 80s offerings like the SH-101 and TB-303.

But here’s the important bit: while a lot of modules have filter circuitry modeled on a Moog ladder filter or other well-known filter designs, the SH-5 has its own sound. It’s part multi-mode filter, part bandpass filter … which is to say, it really growls.

Growl how? Like this:

The 505 has no particularly fancy features. It’s just a straightforward, great-sounding filter. But it could be either the complement to the offerings above, or – for people who already have invested heavily in modular – it might be the one module you grab out of this lineup, just to add a bit of Roland sound to your rack. Just get ready to shove a fader up and down instead of twist a knob, because Roland likes vertical faders.

And we close with this image, which demonstrates that… uh… maybe the photo department needs to buy some shorter cables. (Looks impressive, though. Also, for some reason I either want a big bowl of ramen or a bag of Red Vines – or both.)

More:
https://www.superbooth.com/en/roland.html

SYSTEM-500

The post Roland’s new SYSTEM-500 modules, and why you might want them appeared first on CDM Create Digital Music.

New Mixtape: Gizem Oruç aka 6zm

Delivered... Gizem Oruç | Scene | Thu 3 May 2018 11:01 am

For the Norient exhibition «Seismographic Sounds – Visions of a New World» Gizem Oruç aka 6zm compiled a Mixtape. It is, in her own words, a collage of contemporary works of artists from the bubble she exists in. Besides her own works she plays works of Maria F. Dolores, Zeynep Özcan and Çağrı Erdem.

Tracklist

1. Gizem Oruç – Fair (2’21’’)
2. Çağrı Erdem – Hell of a Coffin (5’46’’)
3. Maria F. Dolores – Efxh Ap Ta 20 Nyxia (2’09’’)
4. 6zm – Bir Başka Ritüel (4’04’’)
5. Zeynep Özcan – Inconnu (4’27’’)

The mixtape was presented at the exhibition Seismographic Sounds.

Hear More on Norient

> Norient: «Seismographic Sounds: Audio Tracklists»
> Lucia Udvardyova: «New Mixtape: Strcprstskrzkrk»
> Moses Iten: «Arab Awakening Mixtape»

Synthstress Stellar OM Source to play three-city tour in India – Red Bull

Delivered... "Indian Electronic Music" - Google News | Scene | Thu 3 May 2018 5:06 am

Red Bull

Synthstress Stellar OM Source to play three-city tour in India
Red Bull
Christelle is also one of the few musicians to have played alongside Indian producer and proclaimed father of acid house, Charanjit Singh in 2012 and is keen to interact with Indian electronic music fans and artists. “Most of what I do is to reach ...

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