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Indian E-music – The right mix of Indian Vibes… » 2018 » August » 23

Richard Devine spent years building up this new LP

Delivered... Peter Kirn | Scene | Thu 23 Aug 2018 10:06 pm

Warlock of sonic invention Richard Devine is back with a new album, on Venetian Snares’ label. And from the first cut, you might be surprised.

Well, actually, that depends on your take on Richard. If his spastic leftfield space voyages past left your head spinning, if you couldn’t quite penetrate all those intentional forays into digital errors, you might be unprepared. But if you you were onboard for that complexity and chaos, if you heard the passion for what it is, then I think you’ll be all the more delighted by what’s coming next.

‘Sort\Lave’ comes to the Venetian Snares-driven sublabel of Planet Mu, Timesig.

That sounds like just, you know, oldschool IDM. But Richard teases us with something that takes that sonic edge and gives it mature forms, warm mixes, greater precision.

He’s gone from those first orbital missions to building a space station, in other words. (Space station indeed – the press materials are quick to point out the custom Eurorack system and two Nord G2 modulars. So yeah, now we get to hear the magnum opus from that system we’ve seen all over social media.)

The album itself is 2016-2017, which means I’m still eager to hear what live sets Richard has next. But this sounds already like a culmination of years of refined technique.

Here’s the text with his comments:

Sort\Lave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as ‘Revsic‘ to ‘Astra’s dazzling juxtaposition of sounds and onto the radiant ambience of the album’s closer ‘Takara‘.

Talking about the album’s genesis Devine explains “I’ve been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.”

“I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.”

This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. “I really wanted to break free from timeline-based music creation and do things with my hands on the fly,” he explains. “So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven’t heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I’m very excited to share it with the world.”

Vinyl, digital. Preorders now:

on the Bleep / Planet Mu store

on Bandcamp

More to come.

Release date: November 2, 2018

The post Richard Devine spent years building up this new LP appeared first on CDM Create Digital Music.

touchAble Pro for Ableton Live: touch control on iOS, Android, Windows

Delivered... Peter Kirn | Scene | Thu 23 Aug 2018 7:12 pm

touchAble was already the benchmark app for controlling Ableton Live from an iPad. Now touchAble Pro has been recoded from the ground up with new features like custom layouts and waveform views – and it supports iOS, Android, and Windows touch, too.

Berlin developers Zerodebug are announcing a beta today for their new app, touchAble Pro. And so we get a first look at what they’ve been up to. The software sports a new, cleaner UI, but also comes a lot closer to being Ableton Live with complete touch support – or at least as close as you can get with the APIs Ableton make available.

You can edit patterns with an overhauled piano roll view, and audio clips using a waveform display.

There are new layouts, letting you view modules side by side or fullscreen.

You can draw in or edit automation inside clips.

It’s really starting to look like the touch app Ableton forgot, complete with full device support (including those pretty new Live 10 graphics), and even little details like being able to access I/O setting on channels right inside the app.

Plus, you can customize exactly the layout you need, which means touchAble shines for live performance. Years ago, I caught the early live show by Glitch Mob, all on original JazzMutant Lemur hardware (that is, before the iPad was released). They were able to make giant buttons so they could trigger stuff in Live without distracting from a live drum routine. You can do that with this if you want – or any number of other layouts. Need specific clip triggers, huge? Want a particular mixer or clip launch layout? Draw it right on the device.


The limitations of touchAble really come down to limitations of Ableton Live itself – connectivity with external devices, Live’s archaic scripting installation, and restrictions on the API. touchAble Pro is a good demonstration of why it’d be great to see Ableton add a complete API for their Arrangement View, in particular – even if that doesn’t make sense on their own Push hardware. But that said, this works. (I can’t evaluate final stability, because I’ve only had a pre-beta build, but it’s definitely promising.)

Initial pricing: US$29.99.

Nice Live 10 support, but Live 9 is also compatible.


That’s actually touchAble Pro running on Windows – giant touchscreen, go!

The post touchAble Pro for Ableton Live: touch control on iOS, Android, Windows appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 23 Aug 2018 7:00 pm
Check out the world's best Trance, House, Chill, Trap, Electro, Hardstyle and more in Alpe d’Huez, France, a ski resort in the Central French Western Alps.

Learn synth basics live with Novation – and more synth-y resources

Delivered... Peter Kirn | Scene | Thu 23 Aug 2018 6:39 pm

Novation are hosting live video to teach you synthesis using their range of gear today. And they’ve got some other useful resources and artist interviews (Orbital!), so let’s have a look.

First up, Novation are broadcasting their Beats and Bytes series to their YouTube channel on a range of topics using their in-house specialists – the folks who make the gear, telling you how to use it. (Not bad: it used to be manufacturers would go to your retail to do trainings, and then you’d go to the retailer and … well, hopefully get something useful, though in lesser stores, people would just sort of stare at you from across the room.)

That starts afternoon time in the Americas, evening in Europe and Africa, and … weird hours elsewhere.

Technology Evangelist Enrique Martinez will be hosting the live stream. Novation tell CDM this will be “very basic sound design techniques” – so beginners (up to intermediate users), feel welcome!

It’s for Novation hardware, but they also say you’ll be able to apply this to other instruments, like your soft synth plug-in you’re trying to learn.

4PM Pacific (9PM NYC / 3AM Berlin) you can tune into the broadcast live, or catch the replay whenever you like. On the menu – this looks like a very useful episode:

(00:00 – 10:00) Making Drum Sounds w/ Circuit Mono Station

(10:00 – 20:00) Making Bass Sounds w/ Bass Station II

(20:00 – 30:00) Making Pad Sounds w/ Peak

(30:00 – 35:00) Putting it all Together

(35:00 – 40:00) Q & A

Wait… drums and bass and pads — I don’t know. It could be too much. Make sure you’re sitting down.

But Novation have been busy with a lot of resources. The timing is good – instruments like Peak have made an impression across the whole synth world. Two written artist interviews worth checking:

Orbital On Peak

The Horrors’ Tom Furse talks Bass Station II

And here’s more in the way of videos.

Circuit users, they’ve crammed another update in the form of version 1.7 – pattern chain being one especially handy feature if Circuit is at the center of your performance:

On Circuit Mono Station, here’s a useful guide to extending parameter changes across multiple steps:

Peak, the flagship, gets really deep. The Mod Matrix is one extensive place to start:

And here’s a complete technical overview of Peak:

Or, in an especially beautiful artist pairing, Hauschka taking Peak into dreamy soundscapes:

That’s a lot of technical information. So where do you start? Let’s look to artist Érica Alves, in the “Start Something” series Novation did a couple years back, with a Novation synth alongside the first Roland AIRA TR-8.

The post Learn synth basics live with Novation – and more synth-y resources appeared first on CDM Create Digital Music.

Comments Due September 24 on Audio Competition Report – Setting the Stage for Radio Ownership Reform?

Delivered... David Oxenford | Scene | Thu 23 Aug 2018 5:17 pm

The state of the audio industry will no doubt be a crucial consideration in the next Quadrennial Review of the FCC’s ownership rules, expected to start late this year or early next. But, before that Review begins, the FCC has been tasked by Congress to write a report on the state of competition in the audio marketplace. In order to gather information for that report to Congress, the FCC is seeking public comment on the state of the industry, asking questions about the state of completion for listeners and advertisers – questions which we summarized here. A summary of the request for comments on the “Status of Competition in the Marketplace for Delivery of Audio Programming” was published in the Federal Register today, setting the comment deadline for September 24, 2018, with reply comments due by October 9.

With this report being prepared just as the FCC is beginning to consider what issues to tackle in the Quadrennial Review, we cannot help but believe that the FCC’s findings won’t be taken into consideration in the Quadrennial Review. The initial document to be released in the Quadrennial Review will be a Notice of Proposed Rulemaking putting forth the FCC’s initial take on whether any of its ownership rules are no longer in the public interest and therefore need to be modified or eliminated. The radio rules have not been subject to any changes in a dozen years, when the FCC switched from using a contour methodology to using Nielsen Audio (then Arbitron) data to compute the number of stations in a rated market. The number of stations any party is able to own in any market has remained unchanged since 1996, though audio competition has clearly grown (see our article here). The facts gathered in this report, while meant for consumption by Congress in its consideration of various legislative matters, will also be the FCC’s most thorough look at the marketplace in which radio competes in 20 years and will likely inform the FCC’s judgement as to whether the radio ownership rules should be amended (see our article here summarizing the NAB’s proposal for changing the rules). Thus, broadcast companies interested in changes in the radio ownership rules should be thinking about providing information to the FCC about the state of competition in the audio marketplace by the September 24 deadline.

Felicita: the producer confronting Polish identity through pop

Delivered... Steph Kretowicz | Scene | Thu 23 Aug 2018 7:00 am

As a child, felicita was embarrassed by the ‘uncool’ world of Polish folk dance – but blended with his experimental pop, it became a way to explore Anglo-Polish frictions

“This whole thing is not about reviving folk cuture,” says felicita in reference to the impulse behind his debut album, Hej!, a surreal opus combining garish and fractured pieces of pop with a newfound appreciation for Slavic dance. “It’s about finding ways to make new ideas. At times I was imagining: if there was a Pixar about medieval Poland, what would the soundtrack sound like?”

The London-based producer is speaking through video chat from under the stairs of a studio, his mop of black hair parted in the centre, sitting slightly hunched as he talks to his phone screen while trying to catch the wifi. He’s a petite person with a formidable portfolio of music for millennials, a hyper-cute hardcore style that surfaced in a debut EP called (>’.’)># in 2013. That was followed by Frenemies in 2014, and A New Family, dropped via London’s PC Music, two years later. Hej! came out on the same label this month, but is a wildly different proposition.

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