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

Let’s turn that synth into a singing robot, DerVoco brings vintage vocoder emulation to iOS

Delivered... Ashley Elsdon | Scene | Sun 3 Jun 2018 10:45 pm

BeepStreet have been responsible for some excellent iOS apps from early on in the mobile music world. Apps like Zeeon, Sunrizer, Impaktor, and of course iSequence HD. Their latest app is going to get you to turn your synth into a singing robot. Well, let’s see how that goes.

DerVoco is a vintage vocoder emulation. DerVoco uses analog modelled components including filters, envelope followers and companders to create a warm vintage sound instead of digital techniques like FFT.


  • AUv3 Audio Effect and Audio Music Effect, works in all AUv3 compatible hosts.
  • Internal polyphonic VCO may be used as a carrier and can be controlled via MIDI, when plugin is loaded as AU MFx.
  • In special “input mode” carrier and modulator signals are mixed in left and right channels of stereo input signal. This way any synth plugin (e.g. Zeeon) may be used as a carrier signal.
  • 11 or 15 bands with onscreen equalizer.
  • Controllable filter resonance makes the sound smooth or sharp and ringing.
  • Built in compressor and noise gate.
  • Optimised to the limits: 60 filters take 4% CPU on latest iPads.

64-bit iPad or iPhone is required.

DerVoco is a universal iOS AUv3 app and costs $4.99 in the app store now

The post Let’s turn that synth into a singing robot, DerVoco brings vintage vocoder emulation to iOS appeared first on CDM Create Digital Music.

Field Day review – shifting sounds tighten up London’s festival scene

Delivered... Chal Ravens | Scene | Sun 3 Jun 2018 12:28 pm

Brockwell Park, London
Under orders not to upset new neighbours, Field Day got strict with its headliners – pulling the plug on an overtime Erykah Badu – while serving a jazzy lineup of fresh stars

When the sound gets shut off on the first night of Field Day, Erykah Badu has just peeled herself off the floor, where she’s been serenading us on her belly like a teenager on a late-night phone call. The neo soul queen may be upfront about her age – tweaking the lyrics of Me to sing: “This year I turned 46” – but she still has the youthful insouciance that brought her acclaim as a thrilling live performer in the 90s. Drowned by an oversized cream suit and enormous wodge of crimped hair, Badu is the sparky counterpoint to her ultra-tight backing band, bashing out beats on a drum machine as she introduces “the 90s babies” to classics like Next Lifetime and Tyrone.

But she’s late, and the curfew comes anyway – after barely an hour, she’s on a mid-set high during Bag Lady when the plug is pulled. It was always going to be this way; Badu isn’t renowned for her punctuality, for a start, but Field Day, now in its 11th year, is under strict orders to keep a lid on the noise and chaos. This is the festival’s first appearance in south London after events behemoth AEG nudged it out of its slot in east London’s Victoria Park. Residents of the affluent area around Brockwell Park were quick to raise the alarm, warning of vandalism and damage to biodiversity.

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Summer 2018 playlists, chosen by Goat Girl, Justice, Hot Chip and more

Delivered... Interviews by Kathryn Bromwich and Sam Lewis | Scene | Sun 3 Jun 2018 10:00 am

Musicians reveal the songs they turn to when the sun hits the sky – listen to their hot tracks below

Bandleader and saxophone and clarinet player; member of the Comet Is Coming and Sons of Kemet

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Oneohtrix Point Never: Age Of review – a subversion of expectations

Delivered... Ammar Kalia | Scene | Sun 3 Jun 2018 9:00 am


The twinkling baroque harpsichord that opens producer Daniel Lopatin’s latest album is a perfect representation of his unpredictable work. Having made his name over the past decade with albums that encompass noise music, synthesiser-heavy electronics, and luscious harmonies, his ninth record continues his legacy of off-kilter composition and unexpected instrumentation.

Lopatin, AKA Oneohtrix Point Never, has become increasingly collaborative in recent years, producing for David Byrne, writing for singers FKA Twigs and Anohni, and composing an eerie soundtrack for the Safdie brothers’ 2017 film Good Time. As such, Age Of is a collective effort, employing Anohni’s choral vocals on the distortion-heavy Same, noise artist Prurient’s screams on Warning and James Blake’s keyboards on the pixelated melodies of Still Stuff That Doesn’t Happen.

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Jamie Isaac: (04.30) Idler review – an unlikely heir to Sade

Delivered... Kitty Empire | Scene | Sun 3 Jun 2018 8:00 am
(Marathon Artists)

From Bon Iver to the Weeknd via our own James Blake, sad boys have stamped their imprimatur on the early years of this century. The latest exponent finds the subgenre subtly levelling up. Jamie Isaac is a classically trained multi-instrumentalist infused with the smoky sensibility of south London – the bass of dubstep, the loneliness of the night bus – as well as jazz and granular digitals. His 2016 debut, Couch Baby, found the twentynothing lolling on soft furnishings, yearning and regretting.

This sequel, written in sunny California and recorded with a full band in London, throws open the curtains a little, taking Isaac closer to the mainstream. Songs such as Maybe re-introduce him as a jazz-pop loverman, an unlikely heir to Sade; Doing Better actually swings. Wings, meanwhile, leans on bossanova rhythms. True to its roots, the song starts off watching a girl gnawing on chicken. (04:30) Idler/Sleep is intended to soundtrack night-time journeys – Isaac’s insomnia is a major inspiration – but the headspace remains interior, with Doppler-effect burbles and inhales adding to the atmosphere. These aren’t vast nocturnal canvases, but immersive miniatures that repay close attention.

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