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Indian E-music – The right mix of Indian Vibes… » 2019 » January

Magical 3D visuals, patched together with wires in browser: Cables.gl

Delivered... Ted Pallas | Scene | Thu 31 Jan 2019 8:43 pm

The latest visual tool to use dataflow patching with virtual wires is here. Cables.gl is free for now, with an accelerated 3D engine powered by Web standards, and some unique tricks up its sleeve. Resident visual expert Ted Pallas gives us a first look.

It’s intended to be both designer-friendly and developer-friendly – and looks like it’ll be geared for musicians, too. Meet Cables.gl. -Ed.

Cables.gl is a new WebGL-based tool for building out and compositing real-time VFX looks. It runs right in the browser, but with features and performance normally associated with standalone software. It uses a node graph [think modular patching, as with synths], with a unique paradigm and a dizzying array of nodes as the dev environment for your look. It’s free, as of writing. That’s probably enough for most people to hit the link and check it out. You can sign up for a beta key.

You can use Cables.gl to quickly make some visuals for music, too – complete with sync. And it works with MIDI controls, too.

Even the first four hours of play with this tool were 100% awesome – time well spent making goofy music visualizers. The strongest component of cables.gl is also its most sexy – the documentation is great. Every node leads to a website with a short description and links to public patches from the user repository that integrate the node. This was enough for me to cover a lot of ground and have a lot of fun in a very short amount of time.

The nodegraph works in a unique way – rather than instancing something an affecting it, you put out affectors and parent content instances to chains of affectors. You don’t work this way, though – you work from instance back to the root MainLoop node, adding nodes in your chain and forking off other instances and merging in modifiers. It’s a very clean and simple-to-operate UI.

If you just want to focus on design, you get this visual, modular view…

…but you can also dive in deeper and code your own custom visuals if you choose.

Cables.gl can import and playback FBX animations [a standard interchange format for all kinds of content], and can also import texture files and apply them to some simple PBR textures. It’s enough to get a substance file in (as individual textures) and get it looking like something.

I’m pretty slammed right now, but I still wanted to make a patch for y’all to poke at. [Ed.: Hey, CDM is a place for people who actually make stuff – meaning our biggest challenge is making time – but we walk that edge! Stay with us; I think we’ll still do more. -PK] I present to you my new (hastily constructed) AV patch The Most Luxurious Live AV Ever. The Most Luxurious Live AV Ever features an endless fountain of Carrera marble marbles ringed by rings of yellow gold, moving to audio. It’s very Mediterranean, and is the perfect visualizer for all events that need a touch of luxeness but not a touch of class. Some ideas for extension: Perlin noise on the spheres, color changing rings (maybe from yellow gold to rose gold), particle engines (always particle engines), a nice classical Greek bust where the spheres are.

Here’s a showcase:

Check out their site / request a beta invite:


Ed.: note that Ableton made use of this apparently during Loop – the two companies are Berlin neighbors. And you can also see from the site the advantage of Web-based tech: you can make production-quality visuals for any medium and include them live in browser designs. Very cool.

There are some tantalizing tutorials up now:

We’ll be watching this one!

The post Magical 3D visuals, patched together with wires in browser: Cables.gl appeared first on CDM Create Digital Music.

Synth One is a free, no-strings-attached, iPad and iPhone synthesizer

Delivered... Peter Kirn | Scene | Thu 31 Jan 2019 6:52 pm

Call it the people’s iOS synth: Synth One is free – without ads or registration or anything like that – and loved. And now it’s reached 1.0, with iPad and iPhone support and some expert-designed sounds.

First off – if you’ve been wondering what happened to Ashley Elsdon, aka Palm Sounds and editor of our Apps section, he’s been on a sabbatical since September. We’ll be thinking soon about how best to feature his work on this site and how to integrate app coverage in the current landscape. But you can read his take on why AudioKit matters, and if Ashley says something is awesome, that counts.

But with lots of software synths out there, why does Synth One matter in 2019? Easy:

It’s really free. Okay, sure, it’s easy for Apple to “give away” software when they make more on their dongles and adapters than most app developers charge. But here’s an independent app that’s totally free, without needing you to join a mailing list or look at ads or log into some cloud service.

It’s a full-featured, balanced synth. Under the hood, Synth One is a polysynth with hybrid virtual analog / FM, with five oscillators, step sequencer, poly arpeggiator, loads of filtering and modulation, a rich reverb, multi-tap delay, and loads of etras.

There’s standards support up the wazoo. Are you visually impaired? There’s Voice Over accessibility. Want Ableton Link support? MIDI learn on everything? Compatibility with Audiobus 3 and Inter App Audio so you can run this in your favorite iOS DAW? You’re set.

It’s got some hot presets. Sound designer Francis Preve has been on fire lately, making presets for everyone from KORG to the popular Serum plug-in. And version 1.0 launches with Fran’s sound designs – just what you need to get going right away. (Fran’s sound designs are also usually great for learning how a synth works.)

It’s the flagship of an essential framework. Okay the above matters to users – this matters to developers (who make stuff users care about, naturally). Synth One is the synthesizer from the people who make AudioKit. That’s good for making sure the framework is solid, plus

You can check out the source code. Everything is up at github.com/AudioKit/AudioKitSynthOne – meaning Synth One is also an (incredibly sophisticated) example app for Audio Kit.

More is coming… MPE (MIDI Polyphonic Expression) and AUv3 are coming soon, say the developers.

And now the big addition —

It runs on iPhone, too. I have to say, I’ve been waiting for a synth that’s pocket sized for extreme portability, but few really are compelling. Now you can run this on any iPhone 6 or better – and if you’ve got a higher-end iPhone (iPhone X/XS/XR / iPhone XS Max / 6/7/8 Plus size), you’ll get a specially optimized UI with even more space.

Check out this nice UI:

On iPhone:


AudioKit Synth One 1.0 arrives, is universal, is awesome

The post Synth One is a free, no-strings-attached, iPad and iPhone synthesizer appeared first on CDM Create Digital Music.

AudioKit Synth One 1.0 arrives, is universal, is awesome

Delivered... Ashley Elsdon | Scene | Thu 31 Jan 2019 5:48 pm

Synth One arrived in the middle of last year and was almost universally well received. Today it reaches a very significant milestone, version 1.0. That’s a big thing, and with this new version comes universal status so you can use Synth One on your iPhone as well as your iPad. That in itself is a good thing in my book. But that’s not all. Here’s all that’s new in version 1.0:

Synth One is now Universal. You can now play AudioKit Synth One on your iPhone! (Requires iPhone 6 or above)


  • New Preset Bank by world-class sound designer, Francis Preve (sound designer for Serum, Ableton, Korg, and more)
  • New presets added to JEC bank by James Edward Cosby
  • Synth One & all of these upgrades will always be free.

What we shouldn’t forget of course is that the entire team at AudioKit, those behind Synth One are volunteers. AudioKit itself does not have any sponsors or investors. The people who make it are all musicians / developers who love making apps. Synth One isn’t all that they make. AudioKit’s main output is AudioKit itself, loved by main, and the mainstay of a lot more apps than you’re probably aware of.

To say that Synth One is a labour of love would be a profound understatement. I know personally that the team behind it are exceptionally dedicated and proud of what they do, and they should be. The app is rightfully loved by many, and as a high quality free app with not the merest hint of an IAP to be found, it is unique.

Long may it continue, and long may AudioKit keep doing what they’re so good at.

You can find Synth One at the app store here:

The post AudioKit Synth One 1.0 arrives, is universal, is awesome appeared first on CDM Create Digital Music.

DOJ Reportedly to Review Impact of Digital Advertising on Broadcast Merger Review

Delivered... David Oxenford | Scene | Thu 31 Jan 2019 4:35 pm

Press reports following a speech this week by the head of the Department of Justice’s Antitrust Division have many in the broadcast industry paying attention. In response to a question following a speech at a DC conference by Makan Delrahim, the chief of the DOJ’s Antitrust Division, he is reported to have said that the DOJ will be holding a workshop to assess whether online advertising should be considered in assessing the local television marketplace, and whether the facts should support a change in the Department’s assessment of mergers by considering online advertising as part of the same competitive market as local TV advertising. Why is this important?

In recent years, particularly in its review of combinations such as last year’s proposed Sinclair-Tribune merger, the DOJ has looked only at the marketplace for over-the-air television in assessing a transaction’s likely competitive impact, refusing to look at the competition for viewers and advertisers that now comes from online sources like YouTube, Facebook and the many other digital platforms competing in today’s media marketplace. Were the DOJ to conclude that digital platforms are indeed part of the same market as TV, there is a greater likelihood that transactions previously questioned on antitrust grounds could see a more favorable reception from the DOJ. This could also have an impact on radio ownership – where the FCC is just about to embark on its own review of the local radio ownership rules.

Proponents of ownership deregulation argue that digital competition in radio, too, must be considered in the assessment of any radio ownership limits (see, for instance, our article here). If the FCC were to significantly relax its radio ownership rules, there has been concern that the DOJ could step in and stop new ownership combinations that might otherwise be allowed by any FCC rule change. Including digital advertising and online audiences in any marketplace assessment decreases the risk of the DOJ playing spoiler and stopping radio transactions that might otherwise be approved if the FCC does relax its rules as a result of the Quadrennial Review of the ownership limits. So the announcement of any DOJ review of the impact of online competitors in assessing broadcast markets is an important one that should be watched as these issues play out in coming months.

Update on Updating the Public Inspection File Post-Shutdown

Delivered... David Oxenford | Scene | Thu 31 Jan 2019 4:29 pm

Yesterday, we published an article talking about an FCC public notice extending all filing deadlines that fell between January 8 and February 7 (except those dealing with auctions and other activities of the FCC unaffected by the government shutdown) to February 8. The article also mentioned that the FCC gave stations that had not been able to upload material into their public inspection files during the shutdown until February 11 to complete the upload of required public file materials – including specifically the Quarterly Issues Programs lists that should have been uploaded by January 10. This led some broadcasters to ask about public file documents that are now due to be uploaded – e.g. EEO Public Inspection File Reports due to be included in the public file by February 1 by stations in certain states (see our article here for a list of the states) – can stations wait until February 11 to upload those documents? Apparently not, we are hearing from the FCC, as the public notice about the February 11 deadline says that it applies only to documents that were to be uploaded to the public file between January 3 and January 28. So documents that are to be uploaded by February 1 would not be among those with the extended deadline. Obviously, consult your own counsel for details on all of these deadlines – but it looks like, if you have a public file deadline tomorrow – February 1 – you should meet that deadline.

This Is What It’s Like To Go Ice Skating At Berghain

Delivered... Derek Opperman | Scene | Thu 31 Jan 2019 1:14 pm

The post This Is What It’s Like To Go Ice Skating At Berghain appeared first on Telekom Electronic Beats.

‘I hope Kanye samples it’: the day centre with its own recording studio

Delivered... Sarah Johnson | Scene | Thu 31 Jan 2019 10:32 am

Learning-disabled people at the Daylight centre are exploring their creativity by releasing their own songs

It’s 11am on Friday morning and there are some weird and wonderful psychedelic sounds emanating from a small, makeshift music studio in north London. Inside, Patricia Angol is playing the xylophone, Mui Tang is touching a Kaoss Pad – an audio effects unit – and Fathima Maharali is singing into a microphone. When they finish, their session leader, Jack Daley, fiddles on a computer, overlaying each musical section before playing it back. There are smiles and high-fives all round.

Daley is a music producer who works at the Daylight centre for adults with learning disabilities, which is run by Islington council. He started private and group sessions composing and producing electronic music with service users two years ago. Since then, countless song lyrics have been written, an EP has been released (with another on the way), and there’s an animated music video to go with the title track, Watermelon Fantasy. Everything has been produced by the people who attend the centre with the help of creative professionals.

Related: Theatre project by learning disabled artists tackles isolation and austerity

Related: Sign up for Society Weekly: our newsletter for public service professionals

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MALFNKTION And Shayan Roy Reunite For ‘Charlie’, Talk Working With Each Other, Future Plans & Much More – The Bangin Beats

Delivered... | Scene | Thu 31 Jan 2019 9:22 am
MALFNKTION And Shayan Roy Reunite For 'Charlie', Talk Working With Each Other, Future Plans & Much More  The Bangin Beats

If you've been a keen follower of the Indian electronic music scene, then you're ought to have heard about Bengaluru-based producer MALFNKTION aka Aditya.

Michael Kiwanuka, Spiritualized and Metronomy to headline End of the Road festival

Delivered... Kate Nicholson | Scene | Thu 31 Jan 2019 9:00 am

Courtney Barnett and Jarvis Cocker also join lineup for eclectic West Country summer gathering

End of the Road has announced that Michael Kiwanuka, Metronomy and Spiritualized will be headlining the festival this year, hosted at Larmer Tree Gardens, on the Wiltshire-Dorset border, from 29 August to 1 September.

British soul musician Kiwanuka supported Adele on her world tour in 2011 and won the BBC’s Sound of 2012 poll; more recently won the 2017 Ivor Novello award for best song, for his politically engaged Black Man In a White World. This is his first major festival headline slot, and suggests new material will be released later this year.

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FCC Further Extends Deadlines for Filings Due During the Shutdown – Including Quarterly Issues Programs Lists – and Moves Up Monthly Meeting

Delivered... David Oxenford | Scene | Wed 30 Jan 2019 2:44 pm

Yesterday, we wrote about upcoming deadlines for broadcasters, and noted that the FCC was going to be releasing an order providing further details on the deadlines for pleadings and other documents that were due during the government shutdown.  That Public Notice was released on Tuesday, and further postponed many filing deadlines which fell during the shutdown.  Filings that were due at the very beginning of the shutdown, from January 3-7, will still be due today, January 30, as noted in prior FCC releases.  However, for documents due January 8 and after (in fact, through February 7), the new filing deadline will now be February 8.  That would include the Quarterly Issues Programs lists that were due in station’s public inspection filed by January 10, and Quarterly Children’s Television reports which were to have been filed at the FCC by January 10.  Also, comments in proceedings such as the FCC’s proceeding on Class A AM stations will be covered by this new February 8 filing deadline.  Responsive pleadings addressing any of the documents extended by this FCC order will also be extended to follow these new revised filing deadlines.

At the same time, the FCC announced that it would move the date of its February meeting up one week – the be held on February 14.  The agenda for that February meeting is here – addressing all the issues that had been teed up for the January meeting.  The January 30 meeting (now scheduled to begin at 12:30 pm ET) will end up being comprised of nothing more than announcements.  For broadcasters, as we wrote yesterday, the FCC will likely abolish the need for filing the FCC Form 397 EEO mid-term report at its February 14 meeting.  The FCC will also vote on a Notice of Proposed Rulemaking looking at the process for issuing new construction permits to noncommercial broadcast stations and LPFMs.  Presumably, the February 14 date was to insure that the meeting would occur before the next potential shutdown, which could occur on February 15 if no budget deal is reached.  So, for now, broadcasters have some more time to file documents that were delayed by this year’s first government shutdown.

FCC Rejects Challenge to Hundreds of FM Translator Applications

Delivered... David Oxenford | Scene | Wed 30 Jan 2019 2:37 pm

Just back from the shutdown, the FCC released an order denying the appeal of two LPFM advocacy groups who had appealed the denial of their petition seeking to block hundreds of new FM translators that will rebroadcast AM stations.  We wrote about prior rejections of this petition by the Media Bureau here and here.  Yesterday’s order rejected the petitioners’ application for review seeking consideration by the full Commission of the Bureau’s decisions.  The petitioner had based their claim on an allegation that new translators could put undue limits on LPFM stations changing transmitter sites.  But the petitioner never showed that any translator would specifically affect any LPFM station seeking to change site (and likely could not, as many new translators are in relatively rural areas where there are likely to be plenty of available spectrum for both translators and LPFM uses).  As there had been no specific showing of any harm created by any of the challenged translator applications, and the petitioners had not shown that they represented any LPFM adversely affected by any translator application, the petition was again rejected for lack of standing.  Given that so many AM stations are relying on these translators (and likely many have already been granted and built), this action should come as a relief to licensees who received grants of these translator applications.

A 12 Track Guide To Bulgaria’s Criminally Underrated ’80s Cosmic Disco Scene

Delivered... chloe | Scene | Wed 30 Jan 2019 2:33 pm

The post A 12 Track Guide To Bulgaria’s Criminally Underrated ’80s Cosmic Disco Scene appeared first on Telekom Electronic Beats.

Free download: A 400-page guide to experimental Eastern Europe sounds

Delivered... Peter Kirn | Scene | Tue 29 Jan 2019 7:52 pm

If experimental music and Europe make you think only of cities like Paris and London, you’re missing a big part of the story. Now you can grab a huge reference on fringe and weird electronic music from the east – and it’s free. (At least that would please Marx.)

Berlin, and Europe in general, have exploded as hubs for experimental sounds. And if you want an answer to why that’s happened lately, look in no small part to the ingenuity, technical and artistic, of central and eastern Europe. These artistic cultures flourished during the Cold War, sometimes with support from Communist states, sometimes very much in the face of adversity and resistance from those same nations. And then in a more connected Europe, brought together by newly open borders and cheap road and air transit, a younger generation continues to advance the state of the art – and the state of the weird.

Old biases die hard, though. Cold War (or simply racist) attitudes often rob central and eastern Europe of deserved credit. And then there’s the simple problem of writing a history that’s fragmented by language and divisions that arose between East and West.

So it’s worth checking out this guide. It’s an amazing atlas covering history and new scenes, and the PDF edition is now available to download for free (if you can’t locate the print version).

SOUND EXCHANGE was a project from 2012-2012, connected to events in seven cities – Kraków, Bratislava, Tallinn, Vilnius, Budapest, Riga and, Prague. That’s Poland, Slovakia, Estonia, Lithuania, Romania, Latvia, and Czech, respectively. I have to note, too, I’ve been involved in some way musically in all those countries, minus Slovakia – and in that case I hosted a Slovakian event in Berlin. That’s not an accident; it’s because we’re so fortunate to have these countries as cultural neighbors. It’s also relevant that we’re seeing these countries produce music tech alongside music – Bastl Instruments in Czech, Polyend in Poland, and Erica Synths in Latvia, just to name three that have lately gotten a lot of attention (and there are others).

There’s 400 pages – in both German and English – with a huge range of stuff. There’s fringe rock music in Germany, radio art from Czech, intermedia and multimedia art from across the region, what Latvia has been up to in experimental music since independence … and the list goes on. Technology and music practice go hand in hand, too, as workshops and music concerts intertwine to spread new ideas – both before and after the fall of communism, via different conduits.

It’s a fitting moment to rediscover this exhibition; CTM Festival here in Berlin has been a showcase for some of the east-meets-west projects including Sound Exchange’s outcomes. And CTM itself is arguably a recipient of a lot of that energy, in the one capital that sits astride east and west – even today, in some ways, minus the wall. The festival is turning 20 this year, and not incidentally, East Berlin-founded label Raster is showcasing its own artists in an exhibition and DJ sets.

Maybe it’s not bedtime reading, but even a skim is a good guide:


Download (uh, happy to re-host this if the bandwidth doesn’t hold up – I know how the kids love their Latvian experimental music book research):

The post Free download: A 400-page guide to experimental Eastern Europe sounds appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Tue 29 Jan 2019 6:00 pm
DJ Snake and Martin Garrix headline! Tchami X Malaa, Zeds Dead b2b Jauz, Adventure Club and Markus Schulz also top the lineup! Tickets are on sale now!

February Regulatory Dates for Broadcasters – EEO Reports, Webcasting Proceeding, FCC Meeting and Other Issues

Delivered... David Oxenford | Scene | Tue 29 Jan 2019 4:14 pm

With the reopening of the Federal government (at least for the moment), regulatory deadlines should begin to flow in a more normal course.  All of those January dates that we wrote about here have been extended by an FCC Public Notice released yesterday until at least Wednesday, January 30 (except for the deadlines associated with the repacking of the TV band which were unaffected by the shutdown).  So Quarterly Issues Programs lists should be added to the online public file by January 30, and Children’s Television Reports should be submitted by that date if they have not already been filed with the FCC.  Comments on the FCC’s proceeding on the Class A AM stations are also likely due on January 30 (though the FCC promised more guidance on deadlines that were affected by the shutdown – such guidance to be released today).

February will begin with a number of normal FCC EEO deadlines.  Commercial and Noncommercial Full-Power and Class A Television Stations and AM and FM Radio Stations in Arkansas, Kansas, Louisiana, Mississippi, Nebraska, New Jersey, New York, and Oklahoma that are part of an Employment Unit with 5 or more full-time employees need to include in their public files by February 1 the Annual EEO Public Inspection File Reports.  TV stations in New Jersey and New York in Employment Units with 5 or more full-time employees also need to file their FCC Form 397 Mid-Term EEO Reports.  While the FCC appears ready to abolish that form (see our article here), it will remain in use for the rest of this year, so New Jersey and New York TV stations still need to file.  Note that the FCC considers an “employment unit” to be one or more commonly controlled stations serving the same general geographic area and sharing at least one common employee.

As we wrote here, February 4 also brings the date for filing a petition to participate in the Copyright Royalty Board proceeding looking to set rates for the public performance of sound recordings by noninteractive webcasters for 2021-2025.  These are the royalties paid to SoundExchange by webcasters – including broadcasters who stream their signals on the Internet and through other digital platforms (see, for instance, our article here about how these royalties include streams played by Alexa and other smart speakers).

The FCC should also have its open meeting this month, currently scheduled for February 21.  Certainly, we can expect the broadcast items that the FCC had initially intended to include on its January agenda – the abolition of the Form 397 and a Notice of Proposed Rulemaking looking at the process for issuing new construction permits to noncommercial broadcast stations and LPFMs.

It is possible that we could also see the Federal Register publication of the FCC’s Notice of Proposed Rulemaking in its next Quadrennial Review of the FCC multiple ownership rules.  That NPRM was adopted in December (here), and addresses issues including the potential relaxation of the local radio ownership rules.  Comments will be due 60 days after publication in the Federal Register, and reply comments will be due 30 days later.

There will no doubt be other important dates both to broadcasters generally and to specific stations.  Be sure to stay in touch with your legal counsel to make sure that you do not miss any dates that may be particularly relevant to your station.

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