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Indian E-music – The right mix of Indian Vibes… » 2018 » October » 12


DIY music gloves for everyone, as Imogen Heap project gets kid friendly

Delivered... Peter Kirn | Scene | Fri 12 Oct 2018 7:51 pm

You know – for kids. Mini.mu is a musical glove that can get young people coding and crafting and making music and electronics work. And it’s off to a simple, elegant, and affordable start, courtesy artist Imogen Heap and designer Helen Leigh.

It’s one thing for music stars to try out bleeding edge technology and explore performance using gestural interfaces. It’s another thing for kids to tackle computing and electronics – and to make teaching tools that serve them. But a new musical glove design could reach a far wider audience.

MI.MU gloves have been a story we’ve followed since the beginning. With artist Imogen Heap, the effort was to expand on musical gloves past and make something that could expressively navigate a performance.

But MI.MU’s work has tended to be technically complex and pricey. Not so MINI.MU.

You make this glove from scratch, with everything kids need included in the kit. (Helen Leigh is not only a brilliant engineer, but also a children’s author and workshop instructor – so she gets how to teach and how kids get going quickly. The kit is rated for age 6+.)

The price: retailing at £39.95. (just about fifty bucks USD). For many in the UK, it’ll be even cheaper, as schools already have the micro:bit “brains” of the glove

Apart from a cute-looking glove to put on your hand, the MINI.MU has a speaker, an accelerometer, and buttons. You use those sensors to pick up the position of the hand and particular events (like tilt or shake). Then code running on an included chip translates those motions into sounds – which you hear right on the glove, without any additional hardware.

The UK-based project takes advantage of the BBC micro:bit, an initiative to get UK schoolchildren into coding and embedded computing. There are loads of micro:bits around, so the glove is designed to build on this platform, but you can also buy the glove with a bundled micro:bit if you don’t have one.

And this can be extended, too. Pins on the board let you connect additional sensors, like flex sensors.

Helen worked with the MI.MU team, Imogen, and kit maker Pimoroni to make this happen.

What’s promising about MINI.MU is that it makes computing and crafting personal – you’re coding something that’s expressive and literally in your hand. If the creators can keep kids (and adults) interested in doing stuff with a glove, and building code around music, there’s real potential.

It looks like the beginning of a platform that could be a lot more – and that realizes some longstanding dreams to bring new ways of interacting with music and learning about STEM through music technology. We’ll be watching.

Check out how kids would get coding with this:

Visual coding using musical examples. (Check these things out in your browser, free.)

https://makecode.microbit.org

The kit is available for preorder – and you get that micro:bit in the deal.

MINI.MU Glove Kit (includes micro:bit) [Pimoroni]

The post DIY music gloves for everyone, as Imogen Heap project gets kid friendly appeared first on CDM Create Digital Music.

Another FCC Broadcast Case Designated for Hearing – With Much Different Stakes

Delivered... David Oxenford | Scene | Fri 12 Oct 2018 5:25 pm

Yesterday, the FCC issued a hearing designation order – though one with much lower stakes than the last designation order issued by the FCC which seemingly resulted in the termination of the proposed Sinclair-Tribune merger. Yesterday’s order was at almost the opposite end of the spectrum from a massive merger of TV companies – the upcoming hearing will determine whether to revoke the license of a Low Power FM station. Issues were raised as to whether the licensee in its FCC applications lied to the FCC about whether its board of directors was made up of US citizens – there being substantial evidence that the board members were in fact citizens of other countries.

As we wrote here when the Sinclair acquisition was designated, hearings are most commonly used when the FCC is faced with disputed issues of fact. But hearings are also required in some cases by the Communications Act, including in cases where there is a proposed revocation of an existing license, as appears to be the reason for the order yesterday – though the FCC also lists a number of issues in the LPFM case that need a factual review. These include whether the licensee made misrepresentations to or lacked candor with the FCC (essentially whether the licensee had lied to the FCC in its applications when it said its directors were US citizens), whether the license was controlled by aliens (i.e. foreign citizens), whether the licensee failed to keep information on file at the FCC accurate and up to date, and whether the licensee failed to respond to FCC inquiries (the FCC having asked for information about the apparent foreign ownership and received no response).

The misrepresentation/lack of candor issue is one that can arise in any case where an FCC applicant or licensee does not truthfully answer a question on an FCC form or in some other FCC filing. If the statements made are found to be untrue and made with intent to deceive the FCC, the issue is most serious and can result in the loss of a license. If the case goes to trial, the administrative law judge (called an “ALJ”) will determine the facts with respect to each of the designated issues and whether those facts lead to the ultimate conclusion that conduct was so bad that the license should be revoked. I say “if this case goes to trial” as many times a party facing a designation for hearing will just give up rather than face the often long and costly hearing process (as apparently happened when Tribune decided to terminate the sale to Sinclair, and as happened in the case we wrote about here, even when the FCC tried to shortcut the hearing by doing a “paper hearing” without the ALJ). In yesterday’s order, the applicant is given a specific amount of time to respond and say that it will participate in the hearing, or the right to a hearing will be deemed waived. Why are these cases usually long and costly?

These cases are much like any court proceeding that you see in civil or criminal cases. But they are typically held before an ALJ, an employee of the FCC though with great independence from the normal FCC processes. The judge is not what is known as an Article III judge – one who sits on other Federal courts. But the ALJ runs a hearing with many of the characteristics of any trial you see on TV – with witnesses being sworn in before they testify, cross-examination by attorneys (often representing the FCC), and pre-trial discovery (including the production of piles of relevant documents and the deposition of witnesses). The Judge basically sets the procedure and moves at his (there being only a single male FCC ALJ at present) own pace (as is evident from the Sinclair case where, though the transaction has been terminated and no party has opposed the request to terminate the case since the application being evaluated is gone, the case has not yet been terminated). The one major difference is that appeals from the ALJ decision go to the FCC Commissioners first, before going to Court.

We will see where this LPFM case goes. But more importantly it shows the variety of processes that the FCC has at its disposal to take care of situations where applicants or licensees appear to have violated FCC rules. Whether this order signals a trend in the use of hearings, or is just an outlier necessary to deal with an unusual case, we will see.

10 Tracks That Define The New Berlin Techno Underground According To SYNOID

Delivered... By SYNOID | Scene | Fri 12 Oct 2018 12:56 pm

The post 10 Tracks That Define The New Berlin Techno Underground According To SYNOID appeared first on Telekom Electronic Beats.

Matthew Dear: Bunny review – eclectic post-punk via heavy electronics

Delivered... Dave Simpson | Scene | Fri 12 Oct 2018 10:30 am

(Ghostly International)

Matthew Dear doesn’t call himself King Chameleon lightly. The Texan-born producer, DJ, sometime University of Michigan lecturer and leftfield electronic artist has spent almost 20 years operating under a range of pseudonyms – Audion, Jabberjaw and False – and rifling through genres like a sock drawer. The fifth album under his own name is no different, but mostly he channels an eclectic range of loosely post-punk-era styles into heavy electronics. Cranium-shattering dub, Nitzer Ebb’s electronic body music, Wire’s angular tunefulness and the Pop Group’s depth-charges of dub and punk are hurled into the mix. The driving Electricity has a hint of the bassline from Elvis Costello’s Pump It Up, while superb opener Bunny’s Dream recalls prime Durutti Column’s fragile beauty, the haunting riff and fizzing drum patterns conjuring up a mesmeric atmosphere that is obliterated by the sub-bass.

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