Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » 2018 » June » 22


New Faderfox, from mixer-style controllers to RGB insanity

Delivered... Peter Kirn | Scene | Fri 22 Jun 2018 6:46 pm

Want something vanilla, like a MIDI controller with a classic mixer layout or a bunch of pots? Or want something crazy – like a psycho-bright light-up show controller? Faderfox has you either way.

The one-person German boutique controller company Faderfox has been making clever controllers since some of the first days of doing that for software, and they keep getting better. Mathias – he really is just one guy – wrote with the latest. He’s Mathias is now shipping the first controllers in his “MODULE” line. The idea here is, you get to mix and match some simple options to build up a virtual mixing surface, for your hardware or software.

These are pre-configured to work with Ableton Live and Elektron’s boxes, and the form factor even matches the Elektron so you can arrange or rack them together neatly.

You can use the new MODULE line with any MIDI-enabled hardware or software, but fans of Elektron will notice something about the dimensions.

On the MX12, you get twelve fader strips – 12 faders, 24 pots, and 24 buttons. Those still send whatever you want, so you can control whatever hardware or software tool you wish (via control change, program change, all the goodies), either by manually creating templates or using MIDI learn to automatically assign them.

On the PC12, you get just pots – 72 of them. You could put those two together, or use them individually, or build a monster system by chaining these together.

You might get away with the generic one and some adjustment in your software, but there are up to 30 custom setups if not.

And each comes in an aluminum case with both two MIDI in and two MIDI out, plus USB. An extension port lets you connect to other stuff.

Oh, and this is cute and useful – these come with a dry erase marker and empty overlay, so you can mark up your controller and know what everything is. There’s even a matching stand. Different colored fader caps let you add additional visual feedback.

399EUR (before VAT) for each.

Okay, so that’s the practical – now let’s get to the impractical (but fun). Mathias has done various one-off custom controller builds, but the GT1 is the craziest, biggest yet – a light-up, 144 RGB LED show controller.

So, for anyone complaining about laptop performance behind a blue glow, uh… take this.

Of course it syncs to music. Of course.

More:

http://www.faderfox.de/gt1.html

The post New Faderfox, from mixer-style controllers to RGB insanity appeared first on CDM Create Digital Music.

‘On repeat in our house’: your albums of the year so far

Delivered... Guardian readers | Scene | Fri 22 Jun 2018 10:17 am

After a mid-2018 Guardian rundown, here’s a selection of additional readers’ favourites from the discussion provoked

After many listens this is definitely my favourite Father John Misty album, adding genuine heart and emotion to the usual combination of wit and irony. Can’t recommend it highly enough. BiggsDixxon

Continue reading...

Gang Gang Dance: Kazuashita review – shoegazey panglobal dreampop

Delivered... Emily Mackay | Scene | Fri 22 Jun 2018 8:30 am

4AD

In 2008, Gang Gang Dance’s breakthrough fourth album, Saint Dymphna, crystallised a manic moment, a time when blogs were abuzz with motley, abrasively joyous collisions of world and dance. Ten years on, and seven since their moody, complex fifth, Eye Contact, the New York trio have shifted to meet a very different global atmosphere, tuning in, as did Björk’s Utopia, to the soothing sounds of a new age revival and filtering them through shoegazey dreampop textures. Single Lotus would fit neatly on one of those 90s Pure Moods compilations, all loose guitar and soft synths, Lizzi Bougatsos’s voice – as beautiful, infuriating and varied as ever – conjuring a panglobal sacred pop. J-Tree builds its bliss slowly, reverbed guitar rolling and crashing, ending in a sample of Standing Rock pipeline protesters jubilantly greeting the arrival of a herd of buffalo. The title track lifts rattling percussion into light, bubbling beats reminiscent of In Sides-era Orbital, as artist Oliver Payne intones colour names in a mesmerising meditation, dispelled by a big breakbeat breakdown.

There’s always, of course, been a hippie undertow to Gang Gang Dance’s mission to forge communion between disparate sounds. “There’s nothing to be scared of,” a child’s voice assures at the end of J-Tree, but though we’re supposed to be past the stage of guilty pleasures in music, pleasurable or otherwise, these sounds (the scent of Enigma and Enya, the glimmer of fire poi in the corner of your eye) still carry a taint of dippy, fantasist indulgence. The band, however, see the album less as an escape, more of an attempt to sire a better world: it’s named after live member Taka Imamura’s new baby, whose name is a play on words roughly translating as “peace tomorrow”. Whether its dreamy palette is progressive or pacifying, Kazuashita undoubtedly brings moments of beautiful respite, not least on closer Salve on the Sorrow, whose floaty fantasy vistas – crashes of drums and trills of harp, Bougatsos’s cooing and whooping like a tropical bird – end hopefully, with the sound of a match flaring.

Continue reading...
TunePlus Wordpress Theme