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Indian E-music – The right mix of Indian Vibes… » 2018 » August » 27

Korg bring us their latest iOS creation – ELECTRIBE Wave

Delivered... Ashley Elsdon | Scene | Mon 27 Aug 2018 11:23 pm

Korg have made a name for themselves in the iOS world by consistently bringing us excellent new apps, whether they’re reincarnations of their old hardware, or totally new ideas. According to Korg their new ELECTRIBE Wave is the next evolution in music software. With Powerful wavetable sound they think that this app is the next generation, and produces state-of-the-art dance music.

The ELECTRIBE series first appeared in 1999. Since then each generation has inherited the iconic, intuitive operability of the original while incorporating the most up-to-date sounds and styles.

The ease of use, accessibility, sound and musicality of the ELECTRIBE reach new heights in this latest software version which features a powerful wavetable sound source, a “Quick Input” sequencer and a convenient chord pad that allows you to play a chord with one finger. Even if you aren’t a musical virtuoso, with ELECTRIBE Wave you can create state-of-the-art dance music like EDM, Future Bass, and Trap.

Powerful wavetable sound suitable for the latest in EDM
ELECTRIBE Wave has a sound wavetable featuring sounds widely used in the latest music creation. Unlike a PCM synth, the wavetable allows you to repeatedly play fragments of short waveforms, and change the waveform position during playback. By combining the wavetable (which features a rich variety of presets) with a powerful filter and two modulation units, you can create an infinite number of innovative and sharp sounds that cannot be produced using standard PCM synths. Even without a deep knowledge of synthesis techniques, the carefully selected parameters make it easy to craft your sound.

Improved user interface for quick composition
The familiar 16-step pad in the ELECTRIBE series enables speedy rhythm production. The ELECTRIBE Wave also features a new keyboard to play chords and scales. Even without musical knowledge, you can have fun making tracks without worrying about wrong notes. The sequencer features Groove, which can be used to breathe life into rhythm parts, as well as a special keyboard to enable smooth step input for synth parts on the graphical user interface.

Convenient chord pad that allows you to play a chord with one finger
ELECTRIBE Wave features a chord pad that allows you to play chords with one finger. If you use the “Fetch” function, it will automatically extract the chords from the song that you are in in the middle of creating and assign those chords to the pad for fast and easy song creation. You can also easily assign and save your favorite chords. In addition you can use the arpeggiator to create new phrases!

Motion Sequence records and plays temporal changes in sounds and effects
The ELECTRIBE series introduced a powerful motion sequence function that remembers and reproduces the movements of the knobs. ELECTRIBE Wave now offers this function for the synthesizer/drum parts so you can create a flow of sound overflowing with originality. If you use the built in KAOSS PAD you can change the sound to drastically with a single fingertip, easily storing and reproducing temporal changes. Remember the wave table POSITION to make real time minute changes to the sound performance.

Song mode can combine patterns into finished songs
Use song mode to create a new track by simply arranging the order of existing patterns. Using only the ELECTRIBE Wave, you can take a song all the way from inspiration to completion. With audio file export, you can send a complete song or individual patterns to your favorite DAW, or upload to services like SoundCloud.

Korg ELECTRIBE Wave is on the app store now and costs $19.99

The post Korg bring us their latest iOS creation – ELECTRIBE Wave appeared first on CDM Create Digital Music.

Numerical Audio brings us a new virtual tape machine in RE-1

Delivered... Ashley Elsdon | Scene | Mon 27 Aug 2018 10:51 pm

Numerical Audio / Kai Aras brings us yet another highly capable audio unit for giving your iOS sound a distinctive and unique sound. Some of Numerical’s other audio units are pretty special. Some of my favourites include RF-1 and RP-1, Volt (an excellent synth) and Theremidi.

Now we get RE-1, a full featured virtual Tape Machine capable of delivering authentic tape based echo and chorus effects. It doesn’t stop there.RE-1 is an interactive tape player, sample, loop and overdub features it’s possible to use it like a virtual tape recorder, sample player, looper or simply as a master effect.


  • Virtual Tape deck including 3 individually controllable read heads, variable delay time and feedback
  • Interactive user interface and realtime visualisation of various parameters related to the tape simulation
  • Dedicated controls for Wow, Flutter, Color, Tape Hiss & saturation amount
  • Tape Loop mode with overdub, tape reverse and time-stretching
  • Sample/Loop library loads wave files onto the virtual tape loop
  • Transport and Tempo Sync
  • Stereo Spread & Stereo Panner
  • Input processing: Highpass filter
  • Output processing: 2 band eq

Tape Echo:

  • Authentic tape echo emulation
  • Multi-tap delay with 3 individually controllable read heads
  • Color Control adjusts the echo’s tone from dark to bright
  • Delay Time: 5ms – 1000ms (or 1/32th to 1/1)
  • Wow & Flutter
  • Tape Hiss and Saturation
  • Stereo spread
  • Stereo panner

Looper / Sample Player:

  • Uses the tape like a traditional looper with unlimited overdubs
  • Configurable Loop length with 1 – 8 bars and tempo sync and tape reverse
  • Tape transport can be linked to the host’s transport controls
  • Time stretching keeps loops in sync
  • Samples/loops can be loaded onto the tape directly
  • Samples can be created from the tape loop and stored in the sample library at any time
  • Factory content includes a variety of loops grouped by style
  • Samples/loops can be imported from and exported to other apps


  • Standalone
  • AUv3
  • InterApp-Audio
  • Audiobus
  • Ableton Link
  • MIDI (Tempo, CC, Program Change)

RE-1 requires iOS 11+

RE-1 costs $4.99 on the app store now

The post Numerical Audio brings us a new virtual tape machine in RE-1 appeared first on CDM Create Digital Music.

3 more FX from 4Pockets

Delivered... Ashley Elsdon | Scene | Mon 27 Aug 2018 9:31 pm

After delivering 3 mastering FX plugins last week, 4Pockets have brought us 3 more audio units as a ‘modulation’ group. Included in this bundle are: Phaser, Flanger, and Vintage Vibe. Here’s what to expect from each of these.

The first is the stereo Analog Flanger plugin which can obviously be used as a plugin with your favourite DAW such as Cubasis, Auria, Meteor or GarageBand.

The Flanger is a modulation effect capable of creating a range of subtle chorus to extreme flanging effects.

Flanging is an audio effect produced by mixing two identical signals together, one signal delayed by a small and gradually changing period. This produces a sweeping comb filter effect with peaks and notches in the resulting frequency spectrum. The feedback control produces a resonance effect which further enhances the intensity of these peaks and troughs.

Next up is the Vintage Vibe, which is a modulation effect capable of creating a dopplar type effect like that of the Leslie speaker as well as various shimmering and stereo widening effects. This type of effect was traditionally used on electric organ and guitars in the late 70’s, pioneered by the likes of Hendrix and Pink Floyd.

The Analog Phaser is a modulation effect capable of creating a range of phasing similar to traditional analog effects of old. This effect is great for creating those 80’s inspired swirling filtering effects which were often applied to keyboard and guitars.

As per the other group, the mastering group, there’s a bundle too, which costs $11.99, where as the individual audio units cost $4.99 each. So not a bad deal at all.

The post 3 more FX from 4Pockets appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Mon 27 Aug 2018 9:30 pm
From Stubbs to Emo's and the rest, Austin after hours will be filled with the likes St. Vincent, The National, Sofi Tukker and more in an intimate club setting.

GotoEQ brings a classic EQ to your iPad and your desktop

Delivered... Ashley Elsdon | Scene | Mon 27 Aug 2018 8:20 pm

Klevgränd have brought us some pretty amazing apps over what has been a very short period when you think about it. From synths to excellent AUv3 FX. GotoEQ is a new evolution of a vintage passive tube-based program equalizer for VST/AU/AAX and also iPad, expanding on that classic sound with dynamic EQ bands, bringing more versatility to your mixing with continuous frequency selection, and adding metering functionality.

GotoEQ performs the classic ‘low-end trick’ with dual Boost and Attenuate controls for its low shelf, but it also offers the ability to perform a ‘high-end trick’, with a similar formulation of high shelving. With continuous frequency selection, you can tune each band as you like. But most importantly of all, GotoEQ’s two mid bands offer dynamic attenuation…

Engage a band’s Dynamic Attenuation control to activate compression across its range. The complex compression algorithm at work behind the scenes has been tuned for musical results with a single control.


  • VST, Audio Units, AAX, iPad compatible
  • Detailed modelling of a classic passive EQ unit
  • High-pass the signal at 20Hz, 40Hz or 80Hz
  • Continuous frequency selection allows fine-tuning to your audio material
  • Set Frequency, Boost and Attenuation for the Low and High shelving bands
  • Frequency selection is tuned to describe the notch created when cutting and boosting
  • Set Frequency, Gain, Q and Dynamic Attenuation for the two mid bands
  • Finely-tuned compression algorithm makes mid bands react dynamically to the signal
  • Input and Output Gain controls for the entire signal path (+/-24dB), and plugin bypass
  • Metering switchable to input or output


  • Simultaneously boost and cut the low shelf to create ‘that’ low-mid scoop on bass tracks
  • De-ess vocals or de-harsh overheads by engaging dynamic attenuation and tuning the high-mid band
  • Add air to signals with the high shelf filter, and ‘scoop’ the high-mids using a ‘high-end trick’
  • Get control over the ‘nose’ of bass tracks with dynamic attenuation of the Low Mid and High Mid bands
  • Subtly EQ a whole mix or bus using light settings and mild compression

GotoEQ is available now as a VST, Audio Units and AAX plugin at an introductory discount price of $29.99 (plugin) and $9.99 (iPad).

GotoEQ on the app store can be found here:

The post GotoEQ brings a classic EQ to your iPad and your desktop appeared first on CDM Create Digital Music.

Watch this $30 kit turn into all these other synthesizers

Delivered... Peter Kirn | Scene | Mon 27 Aug 2018 5:02 pm

DIY guru Mitch Altman has been busy expanding ArduTouch, the $30 kit board he designed to teach synthesis and coding. And now you can turn it into a bunch of other synths – with some new videos to who you how that works.

You’ll need to do a little bit of tinkering to get this working – though for many, of course, that’ll be part of the fun. So you solder together the kit, which includes a capacitive touch keyboard (as found on instruments like the Stylophone) and speaker. That means once the soldering is done, you can make sounds. To upload different synth code, you need a programmer cable and some additional steps.

Where this gets interesting is that the ArduTouch is really an embedded computer – and what’s wonderful about computers is, they transform based on whatever code they’re running.

ArduTouch is descended from the Arduino project, which in turn was the embedded hardware coding answer to desktop creative coding environment Processing. And from Processing, there’s the idea of a “sketch” – a bit of code that represents a single idea. “Sketching” was vital as a concept to these projects as it implies doing something simpler and more elegant.

For synthesis, ArduTouch is collecting a set of its own sketches – simple, fun digital signal processing creations that can be uploaded to the board. You get a whole collection of these, including sketches that are meant to serve mainly as examples, so that over time you can learn DSP coding. (The sketches are mostly the creation of Mitch’s friend, Bill Alessi.) Because the ArduTouch itself is cloned from the Arduino UNO, it’s also fully compatible both with UNO boards and the Arduino coding environment.

Mitch has been uploading videos and descriptions (and adding new synths over time), so let’s check them out:

Thick is a Minimoog-like, playable monosynth.

Arpology is an “Eno-influenced” arpeggiator/synth combo with patterns, speed, major/minor key, pitch, and attack/decay controls, plus a J.S. Bach-style generative auto-play mode.

Beatitude is a drum machine with multiple parts and rhythm track creation, plus a live playable bass synth.

Mantra is a weird, exotic-sounding sequenced drone synth with pre-mapped scales. The description claims “it is almost impossible to play something that doesn’t sound good.” (I initially read that backwards!)

Xoid is raucous synth with frequency modulation, ratio, and XOR controls. Actually, this very example demonstrates just why ArduTouch is different – like, you’d probably not want to ship Xoid as a product or project on its own. But as a sketch – and something strange to play with – it’s totally great.

DuoPoly is also glitchy and weird, but represents more of a complete synth workstation – and it’s a grab-bag demo of all the platform can do. So you get Tremelo, Vibrato, Pitch Bend, Distortion Effects, Low Pass Filter, High Pass Filter, Preset songs/patches, LFOs, and other goodies, all crammed onto this little board.

There, they’ve made some different oddball preset songs, too:

Platinum hit, this one:

This one, it sounds like we hit a really tough cave level in Metroid:

Open source hardware, kits available for sale:



The post Watch this $30 kit turn into all these other synthesizers appeared first on CDM Create Digital Music.

Creamfields review – inhibitions shed for sensory EDM overload

Delivered... Daniel Dylan Wray | Scene | Mon 27 Aug 2018 4:30 pm

Daresbury, Cheshire
With Eric Prydz, the Chainsmokers and Annie Mac providing beats from breakfast to bedtime, hedonistic energy was needed for the 20th anniversary of the dance festival – and the audience delivered

Celebrating its 20th year, the festival run by the famed Liverpool club night returns to capture the breadth of commercial-leaning dance music, from 90s trance stars to modern EDM giants.

Ex-professional football player Hannah Wants delivers pumping house on a Friday afternoon, and by the time of Green Velvet’s house and techno-stuffed set, the whole festival is bouncing harder than most manage at 4am. There’s no gradual build up to ease you in, just an on switch and an off switch; beats from breakfast until bedtime. This all-or-nothing approach seems to shed inhibitions, and creates a fiery feeling of hedonism from the audience who throw themselves into the party with infectious aplomb.

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September Regulatory Dates for Broadcasters – Annual Regulatory Fees; Nationwide EAS Test; Comment Dates on FM Translator Interference, Audio Competition, Children’s Television Requirements, and Reimbursement for LPTV and FM Repacking Costs; and More

Delivered... David Oxenford | Scene | Mon 27 Aug 2018 3:04 pm

While September is one of those months with neither EEO reports nor Quarterly Issues Programs or Children’s Television Reports, that does not mean that there are no regulatory matters of importance to broadcasters. Quite the contrary – as there are many deadlines to which broadcasters should be paying attention. The one regulatory obligation that in recent years has come to regularly fall in September is the requirement for commercial broadcasters to pay their regulatory fees – the fees that they pay to the US Treasury to reimburse the government for the costs of the FCC’s operations. We don’t know the specific window for filing those fees yet, nor do we know the exact amount of the fees. But we do know that the FCC will require that the fees be paid before the October 1 start of the next fiscal year, so be on the alert for the announcement of the filing deadline which should be released any day now.

September 20 brings the next Nationwide Test of the EAS system, and the obligations to submit information about that test to the FCC. As we have written before (here and here), the first of those forms, ETRS Form One, providing basic information about each station’s EAS status is due today, August 27. Form Two is due the day of the test – reporting as to whether or not the alert was received and transmitted. More detailed information about a station’s participation in the test is due by November 5 with the filing of ETRS Form Three. Also on the EAS front, comments are due by September 10 on the FCC’s proposal to require stations to report on any false or inaccurate EAS reports originated from their stations. See our articles here and here.

September also brings comment deadlines in numerous other important FCC proceedings. September 5 is the date for reply comments on the FCC’s Notice of Proposed Rulemaking on how to simplify the resolution of complaints about interference from new FM translators (see our summaries here and here). One of the most debated issues in the initial comments is whether to ignore complaints from full-power FM licensees and other existing FM broadcasters if those complaints originate outside of the complaining station’s 54 dBu contour. Many FM licensees, as well as the licensees of LPFM stations who are also protected from interference from new translators, contend that a substantial portion of their listening audience resides outside that contour and should not be left unprotected from new translators who interfere with such listening.

Reply comments are due September 10 on the FCC’s Notice of Inquiry as to whether to create a new class of C4 FM stations, and to make changes to allow for more short-spaced FM stations using Section 73.215. See our articles here and here on that proceeding.

Congress has also requested that the FCC provide it with a report on the state of competition in the Audio Marketplace. As we wrote here and here, we expect that, while this report is directed to Congress so that it can use this information in assessing statutory changes, as the report will be prepared at the same time as the FCC is working on the Notice of Proposed Rulemaking in its next Quadrennial Review which will likely review the radio ownership rules, the facts gathered in preparing the report to Congress are likely to be important in the Quadrennial review. Comments on this report to Congress are due September 24.

The potential for changes in the Children’s Television rules, particularly the rules mandating three hours of weekly educational and informational programming directed to children on each programming stream broadcast by a TV station, are being reviewed by the FCC. Comments on the FCC’s Notice of Proposed Rulemaking looking at potential changes in these rules (about which we wrote here) are also due September 24.

As the Incentive Auction repacking marches on (with the testing period for repacked stations in Phase 1 of the repacking starting in September), the FCC is also considering the reimbursement of expenses incurred by LPTV stations, TV translators, and FM broadcasters whose operations are affected by the repacking. Comments are due September 26 on the FCC’s proposals on eligibility and administration of the finds to reimburse these stations. See our article here for more details on these proposals.

Commercial radio stations that have been paying the newest Performing Rights Organization, GMR, under an interim license while litigation continues between GMR and the Radio Music License Committee (RMLC) to determine if GMR should be subject to any sort of antitrust regulation, have an interim license that expires at the end of September (see our article here). As the litigation is unlikely to be resolved in the next few months, GMR is reportedly offering yet another extension of its interim license through March 31, 2019. Look out for notice of that extension directly from GMR but, if you have not received it, you may want to reach out to them before the end of the month.

And watch for the agenda of the FCC meeting on September 26. That agenda should be released next week, and we will see what broadcast items may be on it just in time for the Radio Show at the end of the month. Plenty of issues to keep broadcasters busy. As always, check with your legal advisor to make sure that there are no other legal issues that may affect your station’s operations.


John Grant: ‘I’m sensitive. I spent a lot of time trying to destroy that’

Delivered... Dave Simpson | Scene | Mon 27 Aug 2018 1:00 pm

The rollercoaster-loving, Chris-Morris-worshipping songwriter is back with more mordantly funny and exquisitely painful songs about nationalism, Chelsea Manning and love

John Grant was born in 1968 in Michigan and raised in Colorado, in a Methodist household that disapproved of his homosexuality. His mother, who died of lung cancer in 1995, called him a “disappointment”. He was a drug addict, the frontman of the Czars and a waiter before releasing three acclaimed solo albums of heartfelt melancholy and exquisitely raw lyrics that resulted in a Brit award nomination in 2014 for best international male solo artist. He says his new album, Love Is Magic, is “more of an amalgamation of who I am” and captures “the absurdity and beauty of life”.

On Love Is Magic, you collaborate with the electronic artist Benge [Ben Edwards, who plays in Wrangler with the former Cabaret Voltaire man Stephen Mallinder]. How did that come about?
I had an amazing time doing the Creep Show album with them last year and we clicked. I felt he could help me realise my vision. When Wrangler opened for me at the Royal Albert Hall, I went on stage to remind everybody that they were seeing British royalty. I wasn’t talking about myself!

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The Rehabilitation of MIA – VICE

Delivered... "Indian Electronic Music" - Google News | Scene | Mon 27 Aug 2018 9:55 am


The Rehabilitation of MIA
By the time you reach Kala's penultimate showpiece–the breakout single 'Paper Planes'–you've pretty much gone through the evolution of the Indian electronic music scene since 2012. Born Mathangi 'Maya' Arulpragasam to Sri Lankan Tamil parents, M.I.A ...

The Rehabilitation of M.I.A – VICE

Delivered... | Scene | Mon 27 Aug 2018 8:00 am
The Rehabilitation of M.I.A  VICE

It's time to reassess the cancellation of the world's most recognisable immigrant pop-star.

The Rehabilitation of MIA – VICE

Delivered... | Scene | Mon 27 Aug 2018 8:00 am
The Rehabilitation of MIA  VICE

It's time to reassess the cancellation of the world's most recognisable immigrant pop-star.

The Rehabilitation of M.I.A – VICE

Delivered... | Scene | Mon 27 Aug 2018 8:00 am
The Rehabilitation of M.I.A  VICE

It's time to reassess the cancellation of the world's most recognisable immigrant pop-star.

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