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


Moog urges US citizens to take action to stop Trump import tax

Delivered... Peter Kirn | Scene | Sat 30 Jun 2018 1:00 pm

As steep tariffs on electronics loom at the end of next week, Moog are warning that US synth makers could lose their jobs.

The US Trade Representative and the Trump Administration are proposing a steep 25% additional tariff increase on electronic components from China (among other goods), as covered here on CDM last week:

Trump’s tariffs could be costly for made-in-the-USA music gear

Now, those tariffs are expected to take effect on Friday, July 6.

Moog has gone as far as to implore their own customers to take action, in an email sent a week in advance of the rules change. That’s as far as I know reasonably unprecedented. Whatever the politics in Asheville, North Carolina, many US music customers are Trump voters.

But in this case, Moog’s business – and the American manufacturing they’ve consistently made a selling point – are threatened. The mailing, which includes a heart-wrenching photo of Moog employees in North Carolina, reads:

A U.S. tariff (import tax) on Chinese circuit boards and associated components is expected to take effect on July 6, 2018.

These tariffs will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.

In the article, they break down why this is such a big deal for Moog – and illustrate how the Trump trade policy could devastate American manufacturing and the US economy.

“Made in the USA” depends on Chinese parts. Roughly half of Moog’s circuit boards and related components come from China. Those parts are the fuel that allow them to support good manufacturing jobs in the USA, for assembly, testing, and shipping.

They pay more for US parts – and those will get more expensive, too. Electronics sourced inside the USA are already more expensive – priced up to 30% higher than other components. But because these parts also source Chinese components, those prices could go higher still.

People are going to lose jobs. Because these changes have an immediate impact, costs go up immediately. That will likely mean layoffs, soon, say Moog in the mailing. In the long run, it could mean having to move manufacturing out of the USA.

Moog have offered CDM to provide additional comment, so I hope to follow up this story.

In case you aren’t depressed enough, I think the mailing covers only a part of the problem. The immediate impact will be driving up the costs of US synth manufacturers. But stiff import tariffs could cause immediate and widespread job loss across a number of sectors. Motorcycle maker Harley Davison announced plans to move some manufacturing abroad – and saw stiff market losses as it came under direct fire by the President. General Motors warned the move could shrink the company, cut US operations, and kill jobs.

US job losses and a weakened economy would hit the biggest market for music electronics and musical instruments, meaning a second blow would be delivered to our whole industry.

And there’s more: Harley Davison’s move came after retaliatory tariffs imposed by the European Union, not the USA. This is what a global trade war looks like. If the EU expands those tariffs, then a manufacturer like Moog or MakeNoise or Eventide assembly products in the USA could face 50% taxes imposed on customers when its goods reach Europe.

But don’t get depressed – do something, if you’re a US citizen. Moog suggests writing Representatives and Senators. They’ve added contacts for North Carolina, but this is relevant of course to people living across the USA.

The Moog mailing is the best place to start if you live in North Carolina – and it has some talking points if you want something to look at when writing or calling your officials elsewhere:

25% Tariff On Chinese Goods Threatens Our Jobs

For everyone else – including Americans living abroad, like myself – you can find White House, Senate, and House contacts easily from the official US government website:

https://www.usa.gov/elected-officials

Don’t know who your Represntative is? See here: https://www.house.gov/representatives/find-your-representative

And find your Senators by choosing your state from the dropdown upper left here: https://www.senate.gov/senators/index.htm

The US Trade Representative is an office of the President, so I’d suggest also contacting the White House, even if this Administration is unlikely to change its policy.

https://www.whitehouse.gov/get-involved/

For the rest of the world outside the USA, uh, yeah, I have no idea what to tell you. But certainly, I think it would be optimistic to assume this will only impact US manufacturers; the ripples are likely to be felt throughout electronic music tools as through other industries. We’ll keep you posted as this develops.

And to all you folks at Moog – thanks for speaking out. And I hope we can help you keep your jobs.

https://www.moogmusic.com

The post Moog urges US citizens to take action to stop Trump import tax appeared first on CDM Create Digital Music.

Arturia’s KeyLab MKII: a more metal, more connected keyboard controller

Delivered... Peter Kirn | Scene | Fri 29 Jun 2018 9:07 pm

Oh, look, a new MIDI controller keyboard ranks there with “wow, a new moderately-priced mid-sized sedan.” But… Arturia may have a hit on their hands with the MKII KeyLab. Here’s why.

While everyone else guns for the elusive entry level “everyone,” Arturia has won over specific bands of enthusiasts. The BeatStep Pro is a prime example: by connecting to both MIDI and control voltage, these compact pad-sequencer units have become utterly ubiquitous in modular rigs. They’re the devices that prevent modular performances from turning into aimless noodling. (Well, or at least they give your aimless noodling a set of predictable patterns and rhythm.)

Now, is the modular market big enough to sell the majority of BeatSteps Pro? Probably not. But the agnostic design approach here makes this a multitasker tool in every kitchen, and so word of mouth spreads.

So, keyboards. Native Instruments, love them or hate them, have had a pretty big hit with the Komplete Kontrol line, partly because they do less. They’re elegant looking, they’re not overcrowded, and their encoders let you access not only NI’s software, but lots of other plug-ins via the NKS format.

But the KeyLab MKII looks like it could fit a different niche, by connecting easily to hardware and DAWs.

Backlit pads. 4×4 pads (with velocity and continuous pressure – good), which can also be assigned to chords in case finger drumming isn’t what you had in mind.

DAW control. A lot of people record/edit while playing in parts on the keyboard. So here’s your DAW control layout with some handy shortcut buttons.

Faders/mixing. You get 9 faders with 9 rotaries – so that can be 8 channels plus a master fader. There are assignable buttons underneath those.

Pitch and mod wheels. Dear Arturia: thank you for not being innovative here, as wheels are what many people prefer.

And a big navigator. This bit lets you pull up existing presets.

Okay, none of that is all that exciting – we’ve literally seen exactly this set of features before. But Arturia have pulled it together in some nice ways, like adding a dedicated switch to move into chord mode, letting you change MIDI channel with a button on the front panel (hello, hardware owners), and even thoughtfully including not only those shortcut keys for DAWs, but a magnetic overlay to access them.

Still, keyboards from Nektar and M-Audio, to name just two, cover similar ground. So where Arturia set themselves apart is connectivity.

Class-compliant USB MIDI operation. No drivers mean you can pair this with anything, including iOS and Android and Linux (including Raspberry Pi).

Control Voltage. 4 CV/Gate outputs, controlling pitch, gate, and modulation. Yes, four. Also one CV input.

MIDI in and out.

Pedals. Expression, sustain, and 3 assignable auxiliary pedal inputs.

Software integration. This is obviously a winner if you’re into Arturia’s Analog Collection library, which has gone from varied and pretty okay to really, really great as it’s matured. And since there are so many instruments, having this hardware to navigate them is a godsend. There’s also the obligatory software bundle to sweeten the pot, but I suspect the real draw here is out-of-box compatibility with the DAW of your choice – including Pro Tools, Logic Pro X, FL Studio, Bitwig, Cubase, Ableton Live, Digital Performer, and Studio One.

Made of metal. Okay, not the keys. (That’d be awesome, if… wrong.) But the chassis is aluminum, and the wheels are event metal.

There’s a pretty nice piano and a bunch of analog presets built in here, making this a good deal.

I think if your workflow isn’t tied to Native Instruments software and plug-ins, the connectivity and standalone operation here could make the Arturia the one to beat. The thing to check, obviously, is hardware and build quality, though note that Arturia say the keybed at least is what’s found on the Brute line.

There are 49- and 61- key variations, and they come in either black or white, so you can, you know, coordinate with your studio and tastes.

Video, of course:

Arturia KeyLab MKII

The post Arturia’s KeyLab MKII: a more metal, more connected keyboard controller appeared first on CDM Create Digital Music.

AudioKit Synth One has arrived

Delivered... Ashley Elsdon | Scene | Thu 28 Jun 2018 11:59 pm

I posted about AudioKit Synth One a month ago to give you the heads up that the first completely free & open-source professional iOS Synthesizer app in history was on it’s way. Now it’s arrived and, as they promised, it is indeed, completely free. In May I described it as “A big step forward for mobile music”, and I’m sticking to that view. Judging by the initial reactions across the mobile community, lots of other people think it too (check the videos at the end of the post).

The synth has been created by over 100 volunteers from all over the world. The app includes MIDI support (play it with a MIDI keyboard or controller), a sequencer, vintage-inspired analog filters, expressive arpeggiators, warm analog delays, and, over 300 presets to get you started . And of course it is completely open-source.

In fact, you can effectively use the code from Synth One to help you to learn how to build your own synth app or modify Synth One for your own purposes.

SYNTH ONE FEATURES:

  • Hybrid Analog/FM Poly Synthesizer
  • Over 300+ Presets crafted by famous sound designers
  • Audiobus 3 & Inter-app Audio (IAA)
  • Five Oscillators (2 DCO, FM, Sub, Noise)
  • 2 LFOs with over a dozen routing possibilities
  • Vintage-Style 16-Step Sequencer
  • Classic poly arpeggiator
  • MIDI in (Control with a MIDI Keyboard or AudioBus/IAA)
  • Touchable ADSR Envelopes for Amp & Filter
  • FM Oscillator w/ Mod
  • Mono glide and legato
  • Dedicated Sine/Square -12/24 Sub Osc
  • 4-Pole Vintage Low-Pass Filter
  • High-Pass/Band Pass Filters
  • Beautiful Costello Reverb
  • Multi-tap (ping-pong) delay
  • TouchPads
  • Preset & Bank Import/Export & More…

On the roadmap for a future release of Synth One:

  • Ableton Link
  • MPE Support (Play w/ a Roli Seaboard)
  • AUv3 Plug-in support. Use AudioKit Synth One
  • Full Source code will be released soon…

 
AudioKit Synth One is available for your iPad and is completely free

The post AudioKit Synth One has arrived appeared first on CDM Create Digital Music.

AudioKit Synth One has arrived

Delivered... Ashley Elsdon | Scene | Thu 28 Jun 2018 11:59 pm

I posted about AudioKit Synth One a month ago to give you the heads up that the first completely free & open-source professional iOS Synthesizer app in history was on it’s way. Now it’s arrived and, as they promised, it is indeed, completely free. In May I described it as “A big step forward for mobile music”, and I’m sticking to that view. Judging by the initial reactions across the mobile community, lots of other people think it too (check the videos at the end of the post).

The synth has been created by over 100 volunteers from all over the world. The app includes MIDI support (play it with a MIDI keyboard or controller), a sequencer, vintage-inspired analog filters, expressive arpeggiators, warm analog delays, and, over 300 presets to get you started . And of course it is completely open-source.

In fact, you can effectively use the code from Synth One to help you to learn how to build your own synth app or modify Synth One for your own purposes.

SYNTH ONE FEATURES:

  • Hybrid Analog/FM Poly Synthesizer
  • Over 300+ Presets crafted by famous sound designers
  • Audiobus 3 & Inter-app Audio (IAA)
  • Five Oscillators (2 DCO, FM, Sub, Noise)
  • 2 LFOs with over a dozen routing possibilities
  • Vintage-Style 16-Step Sequencer
  • Classic poly arpeggiator
  • MIDI in (Control with a MIDI Keyboard or AudioBus/IAA)
  • Touchable ADSR Envelopes for Amp & Filter
  • FM Oscillator w/ Mod
  • Mono glide and legato
  • Dedicated Sine/Square -12/24 Sub Osc
  • 4-Pole Vintage Low-Pass Filter
  • High-Pass/Band Pass Filters
  • Beautiful Costello Reverb
  • Multi-tap (ping-pong) delay
  • TouchPads
  • Preset & Bank Import/Export & More…

On the roadmap for a future release of Synth One:

  • Ableton Link
  • MPE Support (Play w/ a Roli Seaboard)
  • AUv3 Plug-in support. Use AudioKit Synth One
  • Full Source code will be released soon…

 
AudioKit Synth One is available for your iPad and is completely free

The post AudioKit Synth One has arrived appeared first on CDM Create Digital Music.

July Regulatory Dates for Broadcasters – Quarterly Issues Programs Lists and Children’s Television Reports, EAS Reform, LPFM and FM Translators, C Band Earth Stations and More

Delivered... David Oxenford | Scene | Thu 28 Jun 2018 10:16 pm

July brings the obligation for each full-power broadcaster to add a new Quarterly Issues Programs List to their online public inspection file. These reports, summarizing the issues facing each station’s community of license in the prior three months and the programs broadcast by the station to address those issues, must be added to the public file by July 10. As we wrote here, these reports are very important – as they are the only documents legally required by the FCC to show how a station served the public interest. With the online file, these reports can be reviewed by anyone with an Internet connection at any time, which could be particularly concerning for any station that does not meet the filing deadline, especially with license renewals beginning again next year.

Also to be filed with the FCC by July 10, by full-power and Class A TV stations, are Quarterly Children’s Television Reports. While the FCC announced last week that it will be considering a rulemaking proposal at its July meeting to potentially change the rules (see its proposed Notice of Proposed Rulemaking here), for now the requirements remain in place obligating each station to broadcast 3 weekly hours of programming designed to meet the educational and informational needs of children for each free program stream transmitted by the station. Also, certifications need to be included in each station’s online public file demonstrating that the station has complied with the rules limiting the amount of commercialization during children’s television programs.

In addition to considering the Children’s Television Rules at its July 12th meeting, the FCC will also be looking at how it can modify its EAS system to avoid the kinds of erroneous emergency messages that have been transmitted in recent months – most notably the alert for a missile attack on Hawaii a few months ago. The FCC will adopt certain changes immediately, as well as advancing additional proposals for rule changes. The draft FCC order on EAS changes is available here out here.

The FCC is also planning to adopt a Notice of Proposed Rulemaking (draft here) considering the potential for repurposing for wireless users some or all of the C Band, currently used by broadcasters for earth stations to receive satellite-delivered programming. The FCC had given broadcasters the opportunity until July18 to register the earth stations that were operating in that band as of April 19, 2018 so that the FCC could take these existing operations into account if a repurposing proposal is ultimately adopted. The FCC has now extended broadcaster’s registration deadline to October 17 (see extension order here). Earth stations not registered by that deadline will not be protected or entitled to any consideration if repurposing of the band takes place.

Due on July 20th are comments on a petition to change the interference standards that apply to LPFM stations (proposing a change from the current mileage separation requirements to a system like FM translators, based on interference considerations) and to allow some of those stations to operate with higher power. While this is only a preliminary petition asking the FCC to put out a Notice of Proposed Rulemaking on the issue, preliminary comments on these issues may be important in guiding the FCC on whether to proceed with a further rulemaking. The FCC notice of the acceptance of that rulemaking proposal is here.

Comments on the FCC’s proposal for changing the methodology for addressing complaints of interference from translators to full-power FM stations were due on July 6 (see our articles here and here). Earlier this week, the FCC granted a request for a one-month extension of those comments. They are now due August 6. We are also expecting a Federal Register notice soon setting comment dates in the FCC’s notice of inquiry as to whether it should create a new C4 class of FM stations (see our summary here).

So, even in the summer doldrums, there are a number of FCC proceedings that are ongoing. As we always warn, these are but some of the issues – always check with your own counsel for other dates of relevance to your station.

ISLE OF WIGHT FESTIVAL 2019 DATES AND TICKETS HAVE BEEN ANNOUNCED!

Delivered... Spacelab - Independent Music and Media | Scene | Thu 28 Jun 2018 7:30 pm
It’s moving to a new weekend! Tickets go on sale tomorrow!⠀

Moving AV architectures of sine waves: Zeno van den Broek

Delivered... Peter Kirn | Scene | Thu 28 Jun 2018 4:07 pm

Dutch-born, Danish-based audiovisual artist Zeno van den Broek continues to enchant with his immersive, minimalistic constructions. We talk to him about how his work clicks.

Zeno had a richly entrancing audiovisual release with our Establishment label in late 2016, Shift Symm. But he’s been prolific in his work for AV sound, with structures made of vector lines in sight and raw, chest rattling sine waves. It’s abstract an intellectual in the sense of there’s always a clear sense of form and intent – but it’s also visceral, both for the eyes and ears, as these mechanisms are set into motion, overlapping and interacting. They tug you into another world.

Zeno is joining a lineup of artists around our Establishment label tonight in Berlin – come round if you see this in time and happen to be in town with us.

But wherever you are, we want to share his work and the way he thinks about it.

CDM: So you’ve relocated from the Netherlands to Copenhagen – what’s that location like for you now, as an artist or individually?

Zeno: Yes, I’ve been living there for little over two years now; it’s been a very interesting shift both personally and workwise. Copenhagen is a very pleasant city to live in – it’s so spacious, green and calm. For my work, it took some more time to feel at home, since it’s structured quite differently from Holland, and interdisciplinary work isn’t as common as in Amsterdam or Berlin. I’ve recently joined a composers’ society, which is a totally new thing to me, so I’m very curious to see where this will lead in the future. Living in such a tranquil environment has enabled me to focus my work and to dive deeper into the concepts behind my work, it feels like a good and healthy base to explore the world from, like being in Berlin these days!

Working with these raw elements, I wonder how you go about conceiving the composition. Is there some experimentation process, adjustment? Do you stand back from it and work on it at all?

Well, it all starts from the concepts. I’ve been adapting the ‘conceptual art’ practise more and more, by using the ideas as the ‘engine’ that creates the work.

For Paranon, this concept came to life out of the desire to deepen my knowledge of sine waves and interference, which always play a role in my art but often more in an instinctive way. Before I created a single tone of Paranon I did more research on this subject and discovered the need for a structural element in time: the canon, which turned out to a very interesting method for structuring sine wave developments and to create patterns of interference that emerge from the shifting repetitions.

Based on this research, I composed canon structures for various parameters of my sine wave generators, such as frequency deviation and phase shifting, and movements of visual elements, such as lines and grids. After reworking the composition into Ableton, I pressed play and experienced the outcome. It doesn’t make sense to me to do adjustments or experiment with the outcome of the piece because all decisions have a reason, related to the concept. To me, those reasons are more important than if something sounds pleasant.

If I want to make changes, I have to go back to the concept, and see where my translation from concept to sound or image can be interpreted differently.

There’s such a strong synesthetic element to how you merge audio and visual in all your works. Do you imagine visuals as you’re working with the sound? What do they look like?

I try to avoid creating an image based on the sound. To me, both senses and media are equally important, so I treat them equally in my methods, going from concept to creation. Because I work with fundamental elements in both the visuals and the sound — such as sine waves, lines, grids, and pulses — they create strong relationships and new, often unexpected, results appear from the merging of the elements.

Can you tell us a bit about your process – and I think this has changed – in terms of how you’re constructing your sonic and visual materials?

Yes, that’s true; I’ve been changing my tools to better match my methods. Because of my background in architecture, drawing was always the foundation of my work — to form structures and concepts, but also to create the visual elements. My audiovisual work Shift Symm was still mainly built up out of animated vector drawings in combination with generative elements.

But I’ve been working on moving to more algorithmic methods, because the connection to the concepts feels more natural and it gives more freedom, not being limited by my drawing ability and going almost directly from concept to algorithm to result. So I’ve been incorporating more and more Max in my Ableton sets, and I started using [Derivative] TouchDesigner for the visuals. So Paranon was completely generated in TouchDesigner.

You’ve also been playing out live a lot more. What’s evolving as you perform these works?

Live performances are really important to me, because I love the feeling of having to perform a piece on exactly that time and place, with all the tension of being able to f*** it up — the uncompromising and unforgiving nature of a performance. This tension, in combination with being able to shape the work to the acoustics of the venue, make a performance into something much bigger than I can rationally explain. It means that in order to achieve this I have to really perform it live: I always give myself the freedom to shape the path a performance takes, to time various phrases and transitions and to be able to adjust many parameters of the piece. This does give a certain friction with the more rational algorithmic foundation of the work but I believe this friction is exactly what makes a live performance worthwhile.

So on our release of yours Shift Symm, we got to play a little bit with distribution methods – which, while I don’t know if that was a huge business breakthrough, was interesting at least in changing the relationship to the listener. Where are you currently deploying your artwork; what’s the significance of these different gallery / performance / club contexts for you?

Yes our Shift Symm release was my first ‘digital only’ audiovisual release; this new form has given me many opportunities in the realm of film festivals, where it has been screened and performed worldwide. I enjoy showing my work at these film festivals because of the more equal approach to the sound and image and the more focused attention of the audience. But I also enjoy performing in a club context a lot, because of the energy and the possibilities to work outside the ‘black box’, to explore and incorporate the architecture of the venues in my work.

It strikes me that minimalism in art or sound isn’t what it once was. Obviously, minimal art has its own history. And I got to talk to Carsten Nicolai and Olaf Bender at SONAR a couple years back about the genesis of their work in the DDR – why it was a way of escaping images containing propaganda. What does it mean to you to focus on raw and abstract materials now, as an artist working in this moment? Is there something different about that sensibility – aesthetically, historically, technologically – because of what you’ve been through?

I think my love for the minimal aesthetics come from when I worked as an architect in programs like Autocad — the beautiful minimalistic world of the black screen, with the thin monochromatic lines representing spaces and physical structures. And, of course, there is a strong historic relation between conceptual art and minimalism with artists like Sol LeWitt.

But to me, it most strongly relates to what I want to evoke in the person experiencing my work: I’m not looking to offer a way to escape reality or to give an immersive blanket of atmosphere with a certain ambiance. I’m aiming to ‘activate’ by creating a very abstract but coherent world. It’s one in which expectations are being created, but also distorted the next moment — perspectives shift and the audience only has these fundamental elements to relate to which don’t have a predefined connotation but evoke questions, moments of surprise, and some insights into the conceptual foundation of the work. The reviews and responses I’m getting on a quite ‘rational’ and ‘objective’ piece like Paranon are surprisingly emotional and subjective, the abstract and minimalistic world of sound and images seemingly opens up and activates while keeping enough space for personal interpretation.

What will be your technical setup in Berlin tonight; how will you work?

For my Paranon performance in Berlin, I’ll work with custom-programmed sine wave generators in [Cycling ’74] Max, of which the canon structures are composed in Ableton Live. These structures are receive messages via OSC and audio signal is sent to TouchDesigner for the visuals. On stage, I’m working with various parameters of the sound and image that control fundamental elements of which the slightest alteration have a big impact in the whole process.

Any works upcoming next?

Besides performing and screening my audiovisual pieces such as Paranon and Hysteresis, I’m working on two big projects.

One is an ongoing concert series in the Old Church of Amsterdam, where the installation Anastasis by Giorgio Andreotta Calò filters all the natural light in the church into a deep red. In June, I’ve performed a first piece in the church, where I composed a short piece for organ and church bells and re-amplified this in the church with the process made famous by Alvin Lucier’s “I’m sitting in a room” — slowly forming the organ and bells to the resonant frequencies of the church. In August, this will get a continuation in a collaboration with B.J. Nilsen, expanding on the resonant frequencies and getting deeper into the surface of the bells.

The other project is a collaboration with Robin Koek named Raumklang: with this project, we aim to create immaterial sound sculptures that are based on the acoustic characteristics of the location they will be presented in. Currently, we are developing the technical system to realize this, based on spatial tracking and choreographies of recording. In the last months, we’ve done residencies at V2 in Rotterdam and STEIM in Amsterdam and we’re aiming to present a first prototype in September.

Thanks, Zeno! Really looking forward to tonight!

If you missed Shift Symm on Establishment, here’s your chance:

And tonight in Berlin, at ACUD:

Debashis Sinha / Jemma Woolmore / Zeno van den Broek / Marsch

http://zenovandenbroek.com

The post Moving AV architectures of sine waves: Zeno van den Broek appeared first on CDM Create Digital Music.

Pulsating colors and geometries animate Barker’s latest: interview

Delivered... Peter Kirn | Scene | Thu 28 Jun 2018 3:24 pm

Break out of the drab and the grime and the grind: the latest from Berghain resident Barker is about colors and freedom, with a hypnotic, playful video to match. We talk to the artists.

Presumably, Berlin techno club Berghain and its label Ostgut Ton are associated with bright colors much in the way that the capital of Germany is associated with ocean beaches or country and western music.

But Sam Barker’s new EP – which we’ll go into in a separate CDM story – actually fits perfectly, if you open your mind. As usual, the DJ/producer and co-founder of the Leisure System label and party boldly dreams up new directions for techno. That is, this music is still about forging machine rhythms from the latest sonic technologies, still about techno’s duple groove, but here does so in ways that forgo four-on-the-floor kick cliches or the current trends in gloomy timbres. In their place, you’re treated to brightly vibrating pads and shimmering rhythmic textures.

Or, anyway, those are the clumsy words I can think of to describe it. But Singapore-born motion artist Reza Hasni’s video captures exactly what you’d imagine Barker’s new music should look like. Watch:

CDM checked in with Sam and Reza for more.

Barker: I love Reza’s animation and illustration work, and asked him if he’d make a video for “Filter Bubbles.” I only explained, the shape of the track is supposed to represent bubbles being created and eventually bursting. Reza then built a narrative around this abstract bubble making machinery that ultimately breaks down, opening the door to a new dimension. Hugely grateful to have his imagination on this issue.

Reza Hasni: I have been following Sam’s music and was really excited to do a video for his latest track. The video is about a story of the abstract bubble that represents us. It’s supposed to fit into a situation or organization that loops itself everyday … and eventually it gets bored and escapes into another, until the part where it breaks away from the bubble machinery and evolves to be something unique and less repetitive.

CDM: I’m curious how you approached the music — how do you hear it, or how does that hearing impact how you arrange the animation?

Reza: When Sam told me that the shape of the track is supposed to represent bubbles being created, when I hear the track it reminded me of metal pipes, a smokey industrial factory, the feeling of early morning daily routine when you get up and head to work, doing something in the middle and straight back to sleep — that sort of cycle for the bubble. The track was lighter so I created something happier – then I thought of a happy, colorful, fun industrial factory with strobing lights.

Do you tend to see these sorts of visuals when you hear music, or do you have color associations with the music?

Not all music is the same, so it changes for me. But I often see color associations with music.

CDM: How are you producing your visuals?

I sketch a lot, transferring all elements into [Adobe] After Effects and animating it from there. If you see my other works, there’s a lot of collage influence in my visuals.

It’s a technicolor explosion of colors – I try to incorporate the colors used for sand mandalas into my videos.

This whole process is sort of meditative for me.

Thanks, Reza and Sam! I had an extended conversation in Sam’s home studio yesterday about the album, how it was made, and music in general, so watch for that interview soon. In the meantime, don’t miss the new EP. It’s on repeat for me at least – in the happy bubble way, naturally.

http://ostgut.de/booking/artist/barker

BARKER: O-TON 112 Debiasing [Ostgut]

http://vimeo.com/rezahasni

https://www.facebook.com/rezahasne/

The post Pulsating colors and geometries animate Barker’s latest: interview appeared first on CDM Create Digital Music.

Meet the ultimate Scottish Eurorack module, from Expert Sleepers

Delivered... Peter Kirn | Scene | Thu 28 Jun 2018 1:10 pm

The UK may be Brexiting, but Expert Sleepers is leaving England and moving to Scotland. And one special-edition module celebrates – and proves how just much one tiny spot in a rack can do.

Expert Sleepers began its life in 2004 (roughly around the same time as CDM, in fact), created by Andrew Ostler. They started in software, but entered Eurorack around 2008.

And now, they’re pairing up with Scottish music and equipment retailer/distributor Rubadub, who have a similar storied history and loyal fans, back to the store’s birth as a record shop in 1994. The distribution partnership was followed this year by the modular maker moving to Scotland. So what better way to celebrate than with a module faceplate emblazoned with a map of the Scottish highlands (as created by artist Andrew Beltran).

The module in question is the latest revision of Disting, a multifunctional module. In just a slim, single 4HP module, you get a ridiculous amount of features – a bit like having 80 modules in one. Here’s a really great walkthrough of the MK4 unit by synth vlogger loopop:

And I really do mean a lot of features. The Disting is an oscillator / envelope generator / modulation source, yes. But it can also be used with audio recording, sample playback, physical modeling, and effects. In short, it has a lot of the multitasking usefulness you associate with a computer, but you get to stay with something you can bolt into a rack and never have to boot and that isn’t constantly asking you for software updates. (Ahem. But yes, if you’re thinking “so this sort of is a computer,” then you’re right – albeit one that packs all this stuff onto a little CPU brain.)

All of that makes the price of £139 a steal… and the salvation of people with limited budgets or limited space in their flight case.

It makes me inspired on behalf of the fine Scottish people, so I’ve composed a poem to honor the occasion, starting with a stanza from their national anthem, yadda yadda beating the English in the 14th Century yadda yadda try to make that fit with current events even though I’m an American and don’t fully know the tune so it probably doesn’t fit:

“O Flower of Scotland,
When will we see
Your like again,
That fought and died for,
Your wee bit Hill and Glen,
And stood against him,
Proud Edward’s Army,
And sent him homeward,
Tae think again.

O in mine studio,
Thy gleaming bolt
That once were bare,
It now is filled up,
With modules fair,
And from yer chip,
that beating heart,
Does modulation
Spew with art

O sleeping experts,
Be Scottish brave!
Give us machinery,
Us bonnie lass and lad do rave!
And what sonic tools
We may now lack
Our wallets and credit lines salute thee,
Ye Eurocrack!”

Sort of lost the rhyme scheme there, but my heart was in it.

Expert Sleepers Disting MK4 Eurorack Module Rubadub Special Edition [rubadub]

Documentation, firmware [Expert Sleepers]

The post Meet the ultimate Scottish Eurorack module, from Expert Sleepers appeared first on CDM Create Digital Music.

Debate: Music and Protest

Delivered... norient | Scene | Thu 28 Jun 2018 6:00 am

Which form of musical protest is most effective to provoke change? This question we asked international musicians and scholars, from the composer Dave Philipps to the ethnomusicologist Martin Daughtry.Their answers are quite different. A virtual debate from the Norient exhibition Seismographic Sounds (see and order corresponding book here).

Bob Dylan with Joan Baez during the March on Washington in Washington D.C. (Photo © by: Rowland Scherman – U.S. National Archives and Records Administration, 1963)

Complete Debate: The Video

Some Quotes

«The role of the artist is to raise awareness, to push boundaries, to address issues that are of a global concern. This can and will influence people in many different ways.» Dave Phillips, Noise Musician, Switzerland

«You might worry your song is not being heard, that it’s just a little grain of sand. But think what the beach is made of.» Minuit Delacroix, Singer, Producer and Artist, Mexico

«I define protest broadly. Helping a girl to get out of her unhealthy relationship with a pop song or saving a man’s life with an anti-suicide song is as much a successful protest as rallying people on the streets, the way bands like System of a Down or Rage Against the Machine do.» Trullesand, singer, songwriter, and producer (Germany)

Video Debate Statements by

Statements by:

Kamen Nedev aka Acoustic Mirror, Madrid-based sound artist (Spain)
Johannes Kreidler, Composer (Germany)
Charles Hirschkind, Anthropologist (USA)
Rudolf Eb.er, Musician (Switzerland)
Dave Philipps, Composer (Switzerland)
Kimi Kärki, Musician (Finland)
Antye Greie-Ripatti (AGF), Vocalist, Musician, Composer, Producer, and New Media Artist (Germany)
Keith Kahn-Harris, Sociologist and Reseacher of Metal Music (UK)
Filastine, Musician (Spain)
Martin Daughtry, Ethnomusicologist (USA)
Rona Geffen, DIY Musician & Artist (Germany)
Minuit De Lacroix, Composer and Singer/Songwriter (Mexico/Germany)

Video Cut: Stephan Hermann, Coupdoeil

Read More on Norient

> Philipp Rhensius: «A Protest Song Without a Slogan»
> Jenny Tang: «New York Gives Two Fucks»
> Andrin Uetz: «Protest Music in Hong Kong»

Debates from Seismographic Sounds

> on Sampling
> on Bedroom Producers
> on Power and Positions
> on Music and War

The vaporwave Windows 98 startup sound remix no one asked for

Delivered... Peter Kirn | Scene | Wed 27 Jun 2018 9:49 pm

Time-stretched remixes of Microsoft startup sounds: they just never get old. But maybe we need this vaporwave Windows 98 in our lives.

The source material in this case isn’t Brian Eno – that’s Windows 95. Instead, Microsoft’s own Ken Kato is credited with the composition.

Apart from the glitched-out thumbnail and wonderful sound, I’ll give extra points to this remix on a couple of counts. First, it leads to Indonesian artist Fahmi Mursyid, who has a Bandcamp full of sonic delights. Fahmi, if you were using this as a scheme to bait us into clicking on your music, well … why not? I did:

https://ideologikal.bandcamp.com

And second, it has this fantastic quote attached to it … for some reason:

“Global capitalism is nearly there. At the end of the world there will only be liquid advertisement and gaseous desire.

Sublimated from our bodies, our untethered senses will endlessly ride escalators through pristine artificial environments, more and less than human, drugged-up and drugged down, catalysed, consuming and consumed by a relentlessly rich economy of sensory information, valued by the pixel. The Virtual Plaza welcomes you, and you will welcome it too.”
— Adam Harper, in his initial Dummymag article

I miss those innocent days when the thing we were afraid of was too many computers using Windows.

Now we live in the fantastic world where totalitarian governments are watching us through our phones and we aren’t just paranoid … and that’s presuming a social network on our phone doesn’t make us so depressed we ourselves become a danger.

No, let’s loop this beautiful 90s sound and make the world … melt away.

You’re welcome.

The post The vaporwave Windows 98 startup sound remix no one asked for appeared first on CDM Create Digital Music.

Apple’s latest GarageBand will help you learn an instrument, for free

Delivered... Peter Kirn | Scene | Wed 27 Jun 2018 9:26 pm

Can GarageBand for macOS make music more accessible? The newest release brings free lessons for those wanting to learn. And on another note, it provides crucial bug fixes for blind users.

For a lot of Mac users, GarageBand will be the first taste of music making with technology. So it’s important Apple gets it right. There’s not really any direct comparison on another platform like this, either – GarageBand is available as a free install for new Macs, and yet provides an easy window into the same engine and sounds that drive Logic Pro. Those two applications are developed in parallel – indeed, as a regular Logic user, I was impressed by how much is now familiar in its entry-level sibling.

Reading the reviews in the App Store, though, it’s apparent how challenging it can be serving that audience. Move things around, and you make GarageBand’s years of existing users unhappy. Leave them as they are, and you might turn off potential new users.

GarageBand 10.3, released late last week, evens things out after the 2017 releases. Full release notes:

New in GarageBand for macOS 10.3

Most of this involves new sounds – the Guzheng, Koto, and Taiko drums found in the iOS edition, new vintage Mellotron sounds, electronic roots and jazz “Drummers.”

But two features are worth mentioning.

Software that teaches you to play

A selection of artists will teach you piano and guitar – now, for free, in this free Mac app.

First, the range of lessons Apple offers to get you started with an instrument are now free. For someone with a new Mac, it’s a nice way to get a small taste of learning an instrument.

I downloaded a few of these. There’s no question Apple is behind third-party offerings in this area. And it’s a shame they didn’t find a way to open up this feature to those developers, too, the way they have, say, the iBooks store. On the pop side, there just isn’t enough variety – the selections are embarrassingly white, and weirdly outdated. On the advanced side, well, maybe someone can follow learning a Chopin prelude by trying to watch someone explain it with some diagrams, but I have never met that student. (And I’ve actually taught beginning music students students keyboard. It’s… an… experience.)

Inside a guitar lesson.

But there’s some charm to the selection. I have no doubt it’s a casual way to get a taste for going out and getting lessons yourself. And I think Apple deserves some kudos for making this a default install.

Software that’s more accessible, regardless of sight

The other thing worth mentioning – this is a good example of how Apple is responding to user feedback for musicians with different accessibility needs.

macOS has a technology called Voice Over, which reads out what’s on the screen to users who are vision impaired. That’s important, because it means the non-seeing user is interacting with the same layout and structure as a seeing user. Apple demonstrated this onstage at a recent developer conference with one of their own blind employees, and I got a chance recently to attend a talk by two consultants who give feedback on using these features.

That feedback is important, because seeing developers may not know what works until they hear from users without sight.

In comments, you can read up on what was going wrong in GarageBand 10.2: one blind user complains because they’re lost in the very first screen of mixing. (I want to copy and paste what they wrote, but the App Store won’t let me, so I’m going to commit an accessibility faux pas and include the screenshot here – sorry.)

Also telling here – this detail about vision is actually one of the top App Store comments.

So it’s a small thing, but GarageBand 10.3 fixes that:

VoiceOver now announces the type of track that is selected in the New Track dialog.
VoiceOver now speaks the names of tracks when interacting with regions in the tracks area.

That’s a tiny change, but imagine that is a wall between you and being able to actually know what track you’re editing.

And again, because this is a free install on the Mac, it’s a big deal. Just removing that one barrier opens up music making on the computer to a whole range of Mac users. And that’s not to just congratulate Apple here – all software should work this way.

GarageBand 10.3 is a free update, available now.

The post Apple’s latest GarageBand will help you learn an instrument, for free appeared first on CDM Create Digital Music.

Check Out Photos From Our Techno-Fueled Telekom Electronic Beats Austria Launch Party In Eisenerz

Delivered... By Derek Opperman | Scene | Wed 27 Jun 2018 3:44 pm

It was an incredible scene: A small, rag-tag group of ravers dancing to techno in the pouring rain while Austria’s towering Ennstal Alps watched on like snowcapped sentries. The feeling in the air in that former mining town, called Eisenerz, was vaguely mystical, which was an appropriate mood as any considering the party we were at marked the start of Telekom Electronic Beats Austria and its accompanying Crowd & Rüben event series.

Crowd and Rueben Austria T-Mobile Techno Party

As we’ve told you over the course of the past few weeks, Crowd & Rüben is a new initiative that we’ve launched to help build and connect dance music scenes in remote rural areas with the broader European community. And, having now been to Eisenerz, the first destination, we can assure you that the town is indeed both remote and rural, but it also has potential. We were continually reminded of what our local contact, Erzbergbräu brew pub owner Reini Schenkermaier said: “Just because Eisenerz is small and isolated, doesn’t mean you can’t be connected to the world.”

Crowd and Rueben Austria T-Mobile Techno Party

Situated in a valley about an hour-and-a-half outside of Graz, Eisenerz is a quaint village that features stunning views of the surrounding mountains. We’ve heard techno played in some pretty incredible places, but this was one of the most unique we’ve experienced.

Crowd and Rueben Austria T-Mobile Techno Party

We weren’t alone, either. Matador, our headliner, shared our sentiments. “Normal environments—cities and towns and festivals—are what people are typically used to. Once you go outside, it brings out a different animal in everybody,” he said. Later, when he played a remix of Jay-Dee’s break house classic, “Plastic Dreams”, we could feel a different side of our selves coming out too.

For more information about forthcoming Crowd & Rüben events around Austria, check out the German-language Telekom Electronic Beats Austria page. Or stay tuned to this space—we’ll also announce them as they get closer.

The post Check Out Photos From Our Techno-Fueled Telekom Electronic Beats Austria Launch Party In Eisenerz appeared first on Telekom Electronic Beats.

7 Reasons Why Everyone Should Party Outside During The Day At Least Once

Delivered... By Sophie Harkins. Images by Inka Gebert. | Scene | Wed 27 Jun 2018 2:43 pm

If you’ve been following our party schedule lately, you know that we have quite a few open airs planned for this summer. Our recent techno party at Landschaftspark Duisburg-Nord was mindbendingly fun, and we have similar al fresco raves coming up in the form of our Click Clack Open Air in Dresden and our party with Baka Gaijin at Essen’s mammoth Zeche Zollverein, an abandoned coal refinery complex that’s now a UNESCO world heritage site.

We like partying outside. We like partying outside during the day. We think you should probably try it if you haven’t. Here are a few reasons why it’s better to bask in the sun while dancing to your favorite tunes.

1. You won’t smell like an ashtray

This one is a little Berlin-specific. But for those of you that have clubbed here, have you ever gone out with a nice outfit only to find that, afterwards, it smells like an ashtray? People smoke in clubs here, and if you don’t have the money to fork out for dry cleaning, it’s a great way to ruin your best clothes. Partying outside lets you avoid the smokers—all that fresh air will take care of the smell.

2. You can get your source of vitamin D

Partying inside a factory or dark club for 48 hours all but ensures you won’t meet your recommended daily vitamin D intake. But imagine being able to party while soaking up some rays. Also, you won’t have to feel that terrible moment when the sun reminds you that you’ve been partying in a dark techno club for two days on end. Get some sun onto your skin and feel revitalized!

3. You can take a break without leaving the party

Everyone can relate to this. After dancing your heart out to pounding kicks and being surrounded by sweaty bodies for multiple hours straight, you know it’s time for a break! You want to go outside and take a breather. But that usually means saying goodbye to the club and having to re-enter afterwards, which everyone knows can be a real hassle. If you were outside, you could walk for a little bit, bask in the silence and let your ears have a nice chill-out session with the birds and breeze.

4. You won’t ruin your sleep cycle

We’ve all been here: You want to see your favorite DJ, but they’re playing an all-night party at 5 or 6 AM. If you go, you’ll enjoy yourself, but you’ll also feel like a zombie for a few days afterwards. If you party during the day, you can maintain your normal circadian rhythm—and that’s a good thing for your weekly sleep cycle.

5. You can chill out with a group of friends

Although this goes against our previous article on clubbing alone, we think it’s safe to say that you can reach a point where you want to be able to listen to good music and also hang out with your friends. You can do that inside, sure, but when you’re outside there’s plenty of space to hang out, talk and hear each other. It’s the best of both worlds!

6. You can dance on a grass dance floor

Sometimes standing on that hard concrete can get quite uncomfortable. Isn’t it so nice to be able to connect with nature? Wouldn’t it be great to be able to stand on some grass for a change? Plus, when you feel like taking a break, you can have a nice lie-down on the grass!

7.You can wear sunglasses and not look like a douchebag

Everyone knows that wearing sunglasses looks cool. But you know what doesn’t look cool? Wearing sunglasses inside. If you do this, you look like a douchebag. Doing that will never be cool. Outside though…that’s a whole other story. If you party at a daytime open air, you can wear sunglasses for as long as you want, and nobody will think otherwise (well, until the sun goes down at least).

Read more: 7 reasons why everyone should go to a techno club alone at least once

The post 7 Reasons Why Everyone Should Party Outside During The Day At Least Once appeared first on Telekom Electronic Beats.

Steinberg updates their flagship iOS DAW, Cubasis but where it will go next is actually more interesting

Delivered... Ashley Elsdon | Scene | Wed 27 Jun 2018 6:31 am

Whilst it isn’t really the kind of massive leap forward that users might have been wanting, it is, nevertheless, a solid update with new features that users have wanted for a while. What I’m more interested in is the potential future. You may have noticed that Steinberg have recently purchased mobile music app developer Xewton as a way of accelerating the future of Cubasis. This in itself is an interesting move. To date we haven’t seen a lot of consolidation movement in the mobile market, but there’s no reason that it couldn’t happen here.

Here’s the official word from Steinberg on the purchase:

We’re pleased to inform you about the acquisition of the intellectual property of Austria-based app company Xewton. By taking advantage of these assets we will now be able to quickly move forward with Cubasis and, as Captain Kirk would say, “boldly go where no man has gone before” or should news-style lingo prevail, strengthen its already proven foundation while ensuring the competitiveness in a fast-paced industry.

Lars Slowak, team lead & product planning manager commented: “Acquiring Xewton’s IP marks a significant technological step forward for Steinberg’s app development team. This will give Cubasis a boost, and who knows what else may come of it.”

And here’s the slightly less interesting details of the 2.5 update:

Native Resolution Support for iPad Pro 10.5″ and 12.9″:
Enjoy razor-sharp graphics and text, paired with a dramatic increase in the number of visible tracks within the arranger and mixer, substantial workflow improvements and much more!

Freely assignable effect slots:
Use the pre-loaded award-winning channel strip and StudioEQ effects, or simply tap to replace them with other effects of your choice. And give your sound a good polish, utilizing the five assignable insert plug-ins per track.

MediaBay multiple file import*:
Cubasis provides excellent and unmatched usability, helping you to capture your inspirations right there on the go. To speed up your workflow even more, Cubasis 2.5 allows to import multiple files at once, thanks to its revised Files import feature available in the MediaBay.

Maintenance and improvements:
Cubasis for iPad sets standards when it comes to recording, editing, mixing, and publishing your music. Cubasis 2.5 includes several user-requested improvements to provide best possible performance paired with utmost stability. For the complete list of improvements, issues, and solutions, please visit www.steinberg.net/cubasisforum.

*MediaBay multiple file import requires iOS 11.

Cubasis is currently on sale and half price at $24.99

The post Steinberg updates their flagship iOS DAW, Cubasis but where it will go next is actually more interesting appeared first on CDM Create Digital Music.

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