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Indian E-music – The right mix of Indian Vibes… » 2019 » April » 16


Novation’s Bass Station II just got an Aphex Twin mode, crazy features

Delivered... Peter Kirn | Scene | Tue 16 Apr 2019 5:46 pm

The Aphex Twin-ification of synths continues – and who’s complaining? Novation’s Bass Station II gets some mind-warping mental sound features, including key-by-key madness from Richard James.

Bass Station II is the powerful analog monosynth from Novation, with sub oscillator, extra acid filter, ring mod, loads of hands-on controls, an arp and keyboard, and all the extras. And like Novation’s full range, it’s also been getting double-stuffed after the fact with extras via firmware updates.

In this case, the headline feature just happens to come from a concept by sonic experimental legend Aphex Twin aka Richard James.

It’s not his first time – as he’s done with some other makers, he encouraged sound design features on the Bass Station II before, in the form of micro-tuning. (Thanks, Richard, for advocating for this feature! Let’s join the revolution.)

So behind unassuming version 4.14, you get an “AFX mode” to get more Aphex Twin-y, and other features:

  • AFX Mode: key-by-key parameters on every note morph your sound (whoa)
  • Fixed duration envelopes (decay slider sets only the duration of the sustain stage instead of when envelopes release)
  • Detunable sub oscillator (so both macro and fine tuning controls can be applied to the sub – that’s the low oscillator beneath)
  • Envelope retrigger count (useful for drum synthesis)
  • Oscillator glide diverge – lets you set the glide time of oscillator 2 relative to oscillator 1 for… uh, diverging glides (think thick, gooey sounds and portamento special effects)

These are actually all potentially useful and deep, but AFX mode is both the most compelling – and the weirdest to explain. Here’s a demo video from Novation’s CALC:

So the basic idea here is, you assign synthesis parameters to each note. It’s a little like having sliced up samples and spread them around the keyboard, only here you’ve done it with different sound parameters. And this goes in different directions – different sounds that you play as an ensemble like a drum kit, what Novation describe as “seed” variations of a single patch, or more nuanced shifts up and down.

Really, it’s an extension of what all keyboard assignments do – only they normally do it only with pitch and crude tracking of pitch to one or two other parameters. Here, you can go further.

Really, it’s a slight misnomer to only make Aphex Twin references here, as you could get quite subtle and practical. But it’s also exciting to imagine going off the deep end with a single, mad preset.

I know people tell me the millennials like video better than reading or something or other like this, so I’ve captured a video of a prominent YouTube influencer trying AFX Mode for the first time and showing his reactions:

And yeah, CALC is … a busy, busy man.

Hella fun to play with. I wonder if something similar might be applied to the Circuit Mono Station. Let’s watch.

https://novationmusic.com/synths/bass-station-ii

The post Novation’s Bass Station II just got an Aphex Twin mode, crazy features appeared first on CDM Create Digital Music.

Reason 10.3 delivers on VST performance promises

Delivered... Peter Kirn | Scene | Tue 16 Apr 2019 5:11 pm

We’ve been waiting, but now the waiting is done. Propellerhead has added the VST performance boost it had promised to Reason users – meaning plug-ins now benefit from Reason 10’s patchable racks.

I actually flew to Stockholm, Sweden back in the dark days of December to talk to the engineers about this update (among some other topics). Short version of that story: yeah, it took them longer than they’d hoped to get VST plug-ins operating as efficiently as native devices in the rack.

If you want all those nitty-gritty details, here’s the full story:

Reason 10.3 will improve VST performance – here’s how

But now, suffice to say that the main reason for the hold-up – Reason’s patchable, modular virtual rack of gear – just became an asset rather than a liability. Now that VSTs in Reason perform roughly as they will in other DAWs, what Reason adds is the ability to route those plug-ins however you like, in Reason’s unique interface.

Combine that with Reason’s existing native effects and instruments and third-party Rack Extensions, and I think Reason becomes more interesting as both a live performance rig and a DAW for recording and arranging than before. It could also be interesting to stick a modular inside the modular – as with VCV Rack or this week’s Blocks Base and Blocks Prime from Native Instruments.

Anyway, that’s really all there is to say about 10.3 – it’s what Propellerhead call a “vitamin injection” (which, seeing those dark Swedish winters, I’m guessing all of them need about now.

This also means the engineers have gotten over a very serious and time-consuming hurdle and can presumably get onto other things. It’s also a development for the company that they’ve been upfront in talking about a flaw both before, during, and concluding development – and that’s welcome from any music software maker. So props to the Props – now go get some sunshine; you’ve earned it. (and the rest of us can tote these rigs out into the park, too)

Reason: what’s new

The post Reason 10.3 delivers on VST performance promises appeared first on CDM Create Digital Music.

FCC Releases Notices on Radio License Renewal Process – New Form, New Database and More Scrutiny of the Public File

Delivered... David Oxenford | Scene | Tue 16 Apr 2019 4:05 pm

The FCC yesterday released two public notices about the procedures to be used in the upcoming radio license renewal cycle. These actions were previewed by the FCC at the NAB Convention last week (see our article here). As we wrote here and here, the license renewal cycle begins with the filing of license renewal applications by stations in Maryland, the District of Columbia, Virginia and West Virginia that must be submitted by June 3 (as the June 1 deadline falls on a weekend, the deadline is extended to the next business day). Stations in these states should already be running their Pre-Filing Announcements on the 1st and 16th of the 2 months preceding the renewal filing (see our articles here and here).

The first of yesterday’s notices announces that the renewals will be filed in the FCC’s LMS database which was first used by radio broadcasters in connection with the filing of their last set of Biennial Ownership Reports. In addition to the license renewal form (now FCC Form 2100, Schedule 303-S), broadcasters will also have to submit a Broadcast Equal Employment Opportunity Program Report (LMS Form 2100, Schedule 396). The Public Notice says that the forms will be available by May 1. It also notes that, over time, other radio forms will migrate to the LMS database as the FCC leaves behind CDBS, the database that it has used for broadcasting for well over a decade.

The second Public Notice provides some more details about the renewal process. It makes clear that all stations, whether or not they have 5 full-time employees, will need to file both Schedule 303-S and Schedule 396. In connection with the EEO filing, stations with fewer than 5 full-time employees are only certifying that they have that number of employees, and reporting on whether there have been any EEO proceedings filed against them. The FCC also reminds broadcasters of their pre-filing announcement obligations referenced above and of their general duty to keep their online public file complete and up to date, confirming that if the online file is not complete by renewal time, fines are possible (see our articles here and here). For stations in the first renewal group, applications can be submitted any time after May 1.

Radio station operators should carefully review these new forms and their revised instructions and familiarize themselves with the workings of LMS if they have not already used that system. The upcoming renewal period is rapidly approaching, and these public notices make clear that the FCC will be closely monitoring your compliance with its rules.

Explore Robert Johnson’s Early-’00s Heyday With This Photo Essay By Frankfurt DJ Flug 8

Delivered... chloe | Scene | Tue 16 Apr 2019 12:14 pm

The post Explore Robert Johnson’s Early-’00s Heyday With This Photo Essay By Frankfurt DJ Flug 8 appeared first on Telekom Electronic Beats.

‘It’s an absurd profession’: the world’s most infamous bouncers tell all

Delivered... Maya-Roisin Slater | Scene | Tue 16 Apr 2019 9:00 am

They have a fearsome reputation for excluding eager clubbers – but as a documentary about Berlin’s doormen is released, three of them explain why their policies are ‘all about tolerance’

The door policies for Berlin’s nightclubs are some of the most talked about in the world. Online forums detail appropriate clothing, what to say and how to act in line in order to get in. In the German capital, bouncers don’t just play the role of security, but also curator, sussing out who can handle the extreme depths of hedonism and who might gawk or yuck at what they see.

Today, far removed from the sexual freedom, relentless techno and ample substance use that defines Berlin’s nightlife, I’m sitting in a plain white room with grey carpet and unforgiving lights. Across from me are three men who’ve become infamous for this curation, playing a key part in creating the renowned and secretive door policies. They’re the subject of a new documentary, Berlin Bouncer, by German film-maker David Dietl: a humanising look at people who have reached this bizarre level of celebrity.

Related: 'It's anarchy and hedonism': Janus, the club night that reinvented Berlin

Related: Berlin government pledges €1m to soundproof city's nightclubs

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