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

For ‘Chernobyl’ score, Hildur Guðnadóttir went to a nuclear power plant

Delivered... Peter Kirn | Scene | Fri 31 May 2019 5:34 pm

Composer Hildur Guðnadóttir went the extra distance for her score for Chernobyl = taking a real power plant as inspiration for her haunting score.

In a fascinating interview for Score: The Podcast, Guðnadóttir recounts how she followed the film crew to a decommissioned nuclear power plant in Lithuania – even donning a Haz-Mat suit for the research. (Lithuania here is a stand-in for the original site in Ukraine.)

Guðnadóttir, the composer and cellist (she’s played with Throbbing Gristle, scored films, and toured with Sunn O)))) was joined by Chris Watson on field recording. But this wasn’t just about gathering cool samples, but as she puts it, about listening. So every sound you hear is indeed drawn from the landscape of a similar Soviet-era nuclear plant, but as she tells it, the act of observing was just as important.

“I wanted to experience what it feels like to be inside a power plant,” she says. “Trying to make music out of a story – most of it is about listening.” So they go into this world just to listen – with a man who records ants.

And yes, this finally gets us away from Geiger counters and other cliches.

It’s funny to be here in Riga, just last night talking to Erica Synths founder Girts about his experience of the documentary – having lived through the incident within reach of radiation fallout.

Thanks to Noncompliant for this link.

The HBO drama trailer (though a poor representation of the score – like many trailers, it’s edited to materials outside the actual film score):

Score: The Podcast on Apple Podcasts

The post For ‘Chernobyl’ score, Hildur Guðnadóttir went to a nuclear power plant appeared first on CDM Create Digital Music.

You need this groovy Noncompliant techno mix in your life now

Delivered... Peter Kirn | Scene | Fri 31 May 2019 5:05 pm

Noncompliant has some sexy-cool techno bounce going in her mix for WHOLE Festival. It’s the perfect link between midwest techno and the coming queer-focused blowout in the countryside near Berlin.

Press play for some forward moving music (track listing at bottom):

Our friends over at KALTBLUT magazine invited Lisa aka Noncompliant over to their recent podcast. That “midwest techno” moniker isn’t just an in-the-know way to say, erm, which state a DJ came from while name dropping. It’s a byword for a particular breed of DJ who has clocked untold hours in the mud – sometimes literally – making the rave circuit for years on years, often booking their own gigs, hustling their own … cables/everything, and generally surviving on love of the music alone.

But the important thing about that is, you can hear it in the mixing. And we love listening to music that sounds confident partly because it gets us moving and confident ourselves. Oh yeah, and when you know what you’re doing, you can also drop a crowd-pleaser and classic now and then and totally stick the landing, like Lisa evidently did in Detroit at Movement last week:

More where that came from:

Now, yes, America is still recovering from Movement, but Europe has stuff like WHOLE coming up. The queer-organized, queer-focused festival has a massive lineup, partly because it pulls together LGBTQ and open-minded collectives from both sides of the pond. So you get the likes of The Black Madonna (who met Noncompliant back in said 90s rave scene before anyone knew who they were), Dr. Rubinstein, rRoxymore, Shaun J. Wright, our very own Jamaica Suk (also my studio mate), and lots more.

And Noncompliant will shift gears from headlining Detroit to headlining … a massive campsite queer fest.

And you know, for all the sense some people have that somehow queer culture is ‘hyped’ in music right now, the festival scene can still be a place where a lot of people feel uncomfortable, unsafe, and unable to be themselves. WHOLE promises to make a template for how the summer camp-out festival can be something different – not just a dark, smoky club, but a proper outdoor long weekend. And that could inspire all of us.

As KALTBLUT puts it in their intro:

WHOLE is the only festival of this kind in Europe creating an inclusive environment for the acceptance of all gender identities & sexual orientations, in a relaxing, outdoor environment, far from the hectic confines of the city. A festival by the queers for the queers, where feminine representation and persons or colour are not underrepresented, where not only electronic music, but also workshops, performances, and discussions have been planned all along.

Podcast: Countdown to WHOLE festival – Noncompliant [KALTBLUT Magazine]

There’s more music from WHOLE, too, over at KALTBLUT:

And here’s their fantastic promo video:

And you thought everyone in Berlin only wore black.

Check the festival, and maybe pitch a tent, but definitely keep dancing wherever you are in the world:


Noncompliant’s track listing

Here’s what you’re hearing. Study up / support artists and buy music! (Every single one of these is an artist and label who could use your support, in fact.)

01. Sharp Felon – Cyber Fex [Lone Romantic]
02. Steve Murphy – Ray Gun [Lobster Theremin]
03. The Hacker – Body Electric (Remastered) [Klakson]
04. Solid Blake – Soap Cube [Seilscheibenpfeiler Schallplatten]
05. Dennis Quin – Love Peace [Soft Computing]
06. DJ Deep – Mandrum Dub [Deeply Rooted]
07. Truncate, Chambray – Trax 4 The Club [Figure Jams]
08. Player – 006 B1 [Player]
09. Owen Sands – Purple Noise [Ill Bomb]
10. Blenk – Cells [Enemy]
11. Leandro Gamez – Primary [Analog Solutions]
12. Steffi – 1E-4 [Mistress]
13. Antigone – The Melody (Remix by ROD) [Children of Tomorrow]
14. Robert Hood – Dancer (Remix) [M-Plant]
15. Nikola Gala – Slide B [Teksupport]
16. Truncate – TRNCT_7_2 1 (Untitled) [Truncate]
17. Cheap And Deep – Beautiful [Modular Cowboy]

The post You need this groovy Noncompliant techno mix in your life now appeared first on CDM Create Digital Music.

Political Broadcasting Issues to Consider Now for the 2020 Election Campaign

Delivered... David Oxenford | Scene | Fri 31 May 2019 4:23 pm

The 2020 presidential elections already loom large, with one of the over 20 Democratic candidates for the Presidential nomination seemingly appearing on whatever TV talk show you tune into on your TV set. With the first debate among these candidates scheduled for late June, it seems like we have a real election already underway – and it is time for broadcasters to start thinking about their political broadcasting obligations under FCC rules and the Communications Act, and beginning to make plans for compliance with those rules.

Stations in Iowa and other early primary states have already been receiving buys from Presidential candidates, PACs, and other third-party groups. That spending is sure to increase in the latter part of the year as these early primaries and caucuses are scheduled early in 2020. What should stations in Iowa and in other states be thinking about now to get ready for the 2020 elections?

We have written about some of the issues that broadcasters should already be considering in our Political Broadcasting Guide (which we plan to update shortly). Obviously, one of the primary issues is lowest unit rates – as those rates become effective 45 days before the primaries (or before any caucus which is open to members of the general public). Thus, the lowest unit charge windows for Presidential campaigns will start for the political contests in Iowa and New Hampshire in December, and roll across the country early next year as the other primaries and caucuses draw near. In addition to our Political Broadcasting Guide, we wrote about other issues you should be considering in determining your lowest unit rates here.

In addition to the question of rates for political ads, stations should be thinking about access for political candidates. Especially in the early primary and caucus states, with so many candidates for the Democratic nomination, spot availability may become tight in the weeks leading up to actual voting. But, as long as a candidate does not sit on their rights, equal opportunities requires that candidates have a right to respond to their opponents in equal amounts of broadcast time, and reasonable access requires that you make available time to all Federal candidates in reasonable amounts. But reasonable access does not require that you provide a candidate with all the time that they request (see our article here). As well-funded candidates come in to stations now to request big ad buys later in the political season, stations should consider whether they really want to sell those candidates all the time that they ask for – knowing that some of the less financially secure candidates may be delaying their buys until the last days before the primary. Equal opportunities will require that you fit in spots from those late-arriving candidates, so make sure you have sufficient advertising inventory in reserve in the weeks leading up to the election to make room for commercials from these candidates whose funding may not cover ads until late in the primary period.

There are issues to consider about free time for candidates. As we’ve written before, the FCC has determined that most interview programs where the content is under station control – even those that have little news value on the normal day – are deemed “news interview programs” exempt from equal time rules if they routinely cover issues of public importance.  Bona fide news programming is also exempt from equal time. Thus, equal time is normally only an issue in making sure that all candidates have equal opportunities to buy spot time, and in those rare circumstances where a candidate appears on a purely entertainment program. In these days of media overload, candidates are looking for these nontraditional means of exposure in broadcast programming. So use care if a candidate appears as a character on a scripted TV show, or walks into the announcing booth at a local football game asking to do the play by play for a few minutes, or (especially when dealing with state and local candidates, see our posts here and here) where the candidate is a host of a broadcast program – as, depending on how these situations are handled, all could give rise to equal opportunity claims.

Another area where broadcasters need to pay attention is in connection with third party ads dealing with Federal issues.  Sometimes the ads are subtle digs at the positions that a potential candidate is taking (“call Congressman X and tell him that he should stop voting for bills that are bankrupting the country”), and sometimes they are more direct attacks on the potential candidate.  Sometimes they don’t directly address a particular politician at all, but are instead directed at an issue being debated in Congress.  In any case, if the ads are dealing with Federal candidates or other issues being considered by the US House of Representatives or Senate, then they are Federal issue ads on which the station must maintain full online public file information, similar to that which is kept for any candidate advertising – the full schedule of advertising that is to be run, the class of time sold, the sponsor of the ad, and even the price that was paid for the spots (see our post here on the public file requirements for Federal issue ads).

We have also written, here, about issues concerning the content of these third-party ads, as stations can potentially have liability for defamatory content in those ads if the station knows or has reason to believe that the ads are in fact false. Being put on notice of the falsity of the ad by a letter from a representative of the candidate being attacked can constitute that reason to believe that the ad is false that, if it contains defamatory content, could theoretically result in liability to a station. Candidates who are attacked may be calling stations asking that ads from PACs and other third-parties be pulled from the airwaves, and stations need to have plans in place to be ready to evaluate and deal with such claims. While third-party ads do not get lowest unit rates, these ads can be more problematic than candidate ads as they potentially force stations to be judges of the truth of the content of those ads. Candidate-sponsored ads, on the other hand, cannot be censored, so stations have no liability for the broadcast content of those ads.

Finally, with the election season fast approaching, even stations not in early primary states should start planning.  Some stations are no doubt already selling long-term contracts that will still be in effect during the primary season.  Stations should be considering how to allocate the purchase price of these long-term contracts to reflect their actual seasonal value – rather than simply booking them as having a flat rate throughout the entire year – including the pre-election lowest unit rate periods. As we wrote in our Political Broadcasting Guide, the FCC allows you, in internal station documents, to allocate for lowest unit rate purposes, the purchase price of a long-term contract in a manner different than shown on invoices given to commercial clients, as long as that allocation more accurately reflects the seasonal value of the spots sold, adds up to the total purchase price of the package, and is not done simply to avoid the lowest unit rate periods.  Consult with your attorney to make sure that you properly apply this process, but it could save you money in the long term.

These are but a few of the political issues that broadcasters should be considering. So start thinking about the political issues that will arise as we enter this political season, and check out our Political Broadcasting Guide and the guides prepared by the NAB and many other organizations representing broadcasters – as you can never have enough perspective on these issues. These rules are complex, and many candidates are getting smarter about the how to use the rules to their advantage, so be prepared for the upcoming onslaught of political advertising.

10 Essential Releases From Bill Kouligas’ PAN Label According To Ukrainian Party Cxema

Delivered... Derek Opperman | Scene | Fri 31 May 2019 9:16 am

The post 10 Essential Releases From Bill Kouligas’ PAN Label According To Ukrainian Party Cxema appeared first on Telekom Electronic Beats.

Hungama launches anthem against air pollution – RadioandMusic.com

Delivered... | Scene | Fri 31 May 2019 8:00 am
Hungama launches anthem against air pollution  RadioandMusic.com

MUMBAI: Hungama in partnership with Bhamla Foundation, an organization that works to address health, environment and cleanliness issues, launched ...

The CDMDJ is the most ridiculous possible CDJ mod, not real

Delivered... Peter Kirn | Scene | Thu 30 May 2019 6:15 pm

Transparent CDJs? We can top that. Meet the CDMDJ: a custom edition Pioneer CDJ so limited, none will be made.

If you missed it, the Chicago Museum of Contemporary Art (ah, I spent some good times there) will be showing Virgil Abloh’s Pioneer’s CDJ-2000NXS2 and DJM-900NXS2. And they’re… well, normal CDJs, except they’re see-through. Supposedly, staring at them while you play is meant to give you a “different sound while DJing. And perhaps a new way for music technology and human interaction to equal a different result.” (I tried wearing transparent plastic clothes once; that for sure got a different result.)

They also let you “go beyond the music” – uh, presumably to cigarette burns on the DJ booth underneath or something. Is this art? Well it definitely isn’t crass commercialism in a major art institution taking up space when independent and radical voices in the art world lack a platform – I mean, that would be ridiculous.

This is definitely art, though, from our friend Vincent “Instagram Sucks” Neumann and Techno: the Gathering. May you play it well:

But it all got me fantastizing about what I’d do with my own special edition CDJ. And… I’m not even sure I’m still joking about this. Behold: the CDMDJ. It’s a game changer.

Full specs:

High-fidelity or the highway. Built-in MOD support. MP3 compatibility removed, FLAC lossless support exclusively for digital audio, plus MOD file format, Amiga and Atari emulation, and native internal SID chip for chip music playback.

Play four decks – or only one. Single deck mode allows you to mix on a single deck by queuing and mixing a second track onboard, with variable crossfader curves and a switch to apply the pitch fader to crossfade (labeled Confusion Mode).

How much more black can it be? Vantablack paint absorbs nearly all light (up to 99.96% of visible light at 663 nm perpendicular, to be exact).

More on the paint:

“It’s like staring into a black hole” which is how a lot of us feel when DJing anyway, so like more so:

It’s like staring ‘into a black hole’: World’s darkest material will be used to make very stealthy aircraft, better telescopes

No labels – no n00bs. All labels are printed, but in fully light-absorbing Vantablack lettering on Vantablack background and backlit using antilight from an alternate dimension which is immediately absorbed into the Vantablack ink.

Noir display. Monochromatic OLED or optional e-ink display substituted for standard display.

Waveforms are for the past. Waveforms shown in spectral mode only, or as direct binary stream (Computer Operator Mode) or backwards Kanji characters (Matrix Mode).

This sync button will actually hurt you. Standard sync button is available but has been electrified with shock technology licensed exclusively from PainStation, optimized for “reconditioning” beginning DJs or “satisfying” masochists / providing more alertness in late night / afterhours gigs.

The haptic-est. Pitch platters have been motorized, and overclocked beyond safety limits, which can produce smoothies and margaritas using optional blender attachment.

Professional ins and outs, designed for producers. I/O has been outfitted with MIDI DIN in/out/thru, custom circuitry converting Pioneer’s sync techology to MIDI clock, DIN Sync, CV/gate, and for some reason MPE.

Expressive DJing. Platters add pressure sensitivity, transmitted as channel aftertouch.

Go further with your music. Pitch range can be adjusted to 1/1000 – 1000x range via custom firmware.

Whatcha gonna do when they come for you? Electromagnetically shielded smuggling compartments modeled on The Millennium Falcon, for safe transport across borders of … uh … you know, like, music stuff

STEMS. We’re sorry. Support for STEMS files, which we didn’t want but Native Instruments made us do it. This is unsupported on the CDJ user interface, though; rooted access to the firmware is necessary to mix individual stems via command line interface and recompiling the firmware.

Prophetic. Dave Smith / Sequential filter, high pass only, with adjustable FM.

Fast like MiG, or VW Golf or something. Afterburners, Turbocharged direct injection.

Autograph edition – so you know it’s good. In honor of the Editor-in-chief-for-Life-of-CDM, the unit says Peter Kirn Signature Edition in really huge letters. Maybe. It’s Vantablack on Vantablack so based on my sources it EITHER says Peter Kirn Signature Edition or Peter Kirn is a Penis, with a little drawing of a penis, but I can’t be sure because the lettering of course doesn’t reflect light. Really, either way you know it has my name on it, which is really a sign of quality assurance or something.

Availability and pricing unknown, or check Behringer social media for a series of polls asking what they should do with their own version; pricing for CDM edition expected to be in the low six figures.

Prototypes will be shown – where else? – at Berlin’s iconic Berghain/Panorama Bar. Berghain asks all visitors to please obey its strict photography policy, so when you can’t find any photo evidence of this, you can’t say it didn’t happen, can you?

Note: CDMDJ is not real.

Nothing is real.

Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.

* Note: in place of a manual, you get collected quotes of Friedrich Nietzsche.

As for the hoodie that says I LOVE TECHNO in big letters and costs nearly two grand, I think I actually am staring into the abyss. I got nothing.

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June Regulatory Dates for Broadcasters – License Renewal, EEO Reports, Reg Fee Comments, Ownership Appeal Argument and More

Delivered... David Oxenford | Scene | Thu 30 May 2019 4:51 pm

The license renewal cycle, about which we have been warning broadcasters for at least the last year (see, for instance, our posts here, here and here), is now upon us. June 3 is the filing deadline for license renewals for radio stations in Maryland, DC, Virginia and West Virginia. Radio stations (including FM translators and LPFMs) licensed to any community in any of those states should be filing their renewal applications in the FCC’s Licensing and Management System (LMS) by Monday’s deadline. The new FCC forms, as we wrote here, have been available since early May, so the renewal and the accompanying EEO program report should either be on file or ready to be filed in LMS by the June 3 filing deadline. These stations should also be running their postfiling license renewal announcements on the 1st and 16th of June, July and August. Radio stations in the next renewal group, in North and South Carolina, should begin their license renewal pre-filing announcements on June 1st and 16th as well, informing the public about the upcoming filing of their renewals due on August 1. See this article on pre-filing announcements for more information.

In addition, broadcasters in Arizona, Idaho, Maryland, Michigan, Nevada, New Mexico, Ohio, Utah, Virginia, West Virginia, Wyoming, and the District of Columbia that are part of an Employment Unit with 5 or more full-time employees should also be preparing to add to their online public inspection file their Annual EEO Public File Report. This report is due to be added to their online public files by June 1. A link to this report should also be placed on the station’s website, if it has a website.

There are also comment deadlines in an FCC proceeding of interest. The FCC has asked for comments on its proposed regulatory fees for 2019, which will be paid before October 1 at a time that will be set by the FCC after considering the comments on the proposed fees.   October 1 is when the government’s new fiscal year begins. The fee proposal, available here, would set radio fees about 20% higher than in previous years, with little apparent explanation as to why the fees have increased. The FCC also proposes to go to a new methodology for computing TV regulatory fees. Eventually, the fees are to be based entirely on the population of the service area of each individual station. This year, however, the fees are proposed to be a blend of last year’s DMA-based methodology and the new population-based determination. For many TV stations, fees would decline or stay relatively flat. However, some TV stations may see very significant increases – especially VHF stations in the northeast that have increased power beyond the normal limits for such stations, in an effort to make up for the inferiority of coverage for these stations when operating digitally. Comments on these proposals are due June 7.

June 11 is the date on which the Court of Appeals will hear oral arguments on the appeal of the FCC’s ownership decision from late 2017 in which the FCC, among other actions, abolished the newspaper-broadcast and radio-television cross-ownership rules and the rules requiring that there be 8 independent owners in a television market before a company could hold two TV licenses in that market. The rules are being challenged by a number of public interest groups who believe that the FCC has not done enough to foster the entry of minorities and other new entrants into broadcast ownership, and that, until an effective plan is implemented to bring about this ownership diversity, the FCC is precluded from changing any ownership rules (these groups argue that the FCC’s incubator program, about which we wrote here, is inadequate). The court will likely take several months after the argument to finally resolve these issues. This resolution is important as, if the court sides with those appealing the 2017 decision, the decision could effectively put on hold the current Quadrennial Review of the FCC’s ownership rules (which, as we wrote here, is targeted principally at radio ownership deregulation) until a more effective diversity plan is devised.

The FCC’s June meeting is light on broadcast matters. The one media issue on the agenda is the FCC’s proposal to review its leased access rules – the rules requiring that cable companies provide some portion of their channel capacity to independent parties who want to lease that capacity to provide their own programming. The FCC is expected to adopt a Notice of Proposed Rulemaking to review these requirements. The draft NPRM is available here. The FCC’s monthly meeting will be held on June 6.

June 21 brings to an end Phase 3 of the television repacking process following the incentive auction, when stations in that window are supposed to have completed their transition to a new channel. Phase 4 begins the next day, when stations in the next stage can begin testing on their new channel for operations.

On June 28, the FCC will host a workshop designed to promote the use of multilingual emergency alerting. The workshop will include presentations covering the multilingual capabilities of the Emergency Alert System (EAS) and Wireless Emergency Alerts (WEA), and alternative methods for delivering emergency information to non-English speakers. The workshop will be held from 9:00 a.m. – 2:30 p.m. EDT and will be webcast. Check the FCC’s website for further information. See the FCC Public Notice about the workshop, here.

Looking ahead to July, July 10 will bring the due date for the next round of Quarterly Issues Programs Lists and the Quarterly Children’s Television Reports. With the renewal cycle having now started, as we have written many times (here, here and here), these quarterly filings take on added significance as the failure to make timely filings will likely lead to FCC fines. So be prepared for the July 10 deadline. July 10 is also the deadline for repacked stations to file their quarterly Form 387 transition status reports (unless the station has already transitioned to its new channel).

As always, these are just the regulatory deadlines on which we happen to be focused. Consult with your own counsel for information about any deadlines we may have missed and any deadlines of particular importance to your own station. To look ahead at some of the other upcoming deadlines, see our Broadcaster’s Calendar, here.

FCC Starts Accepting ATSC 3.0 Applications – The Next Generation of TV Transmission

Delivered... David Oxenford | Scene | Wed 29 May 2019 3:28 pm

Effective yesterday, May 28, the FCC is accepting applications for television stations to begin to convert to the next generation TV transmission standardATSC 3.0 or “NexGen TV.” Last week, the Commission issued a Public Notice announcing that the form (FCC Form 2100) necessary for stations to apply to transition to the new standard is now available for both full-power (Schedule B to Form 2100), low power (Schedule D) and Class A TV stations (Schedule F). Only stations currently sharing channels as part of a Commission-approved channel sharing agreement following the FCC’s incentive auction are not able to apply for the transition at this point, as the FCC Form needs further revisions to its forms to accommodate applications for the transition by these stations. Those forms are expected later this year. In the interim, sharing stations can move forward with 3.0 operations by seeking Special Temporary Authority.

ATSC 3.0 promises to allow broadcasters to transmit more information through their 6 MHz channel – allowing for additional subchannels of programming or more data transmission capabilities that could be sold to those needing to transmit digital information to the wide areas served by TV stations. The transmission standard is far more mobile-friendly than the current standard and also allows for transmissions in an IP format compatible with so many other digital devices receiving information from Internet sources. But the standard is not backward compatible – meaning that to receive the new television signals consumers will need new TV sets with ATSC 3.0 receivers, or converters to provide the signal to existing TV sets. Thus, to ensure that consumers will not lose access to the over-the-air television signals they now receive, the FCC requires that stations converting to the new standard must also simulcast their primary video signal on a station in their market that continues to operate in the current ATSC 1.0 standard. Low power TV stations do not have this simulcasting obligation, meaning they can convert to 3.0 operations and leave the 1.0 standard behind.

The new form will be filed by stations seeking to convert to ATSC 3.0. It will require that the full power or Class A TV station identify a host for its ATSC 1.0 “lighthouse” signal. Eventually, once a station has converted to ATSC 3.0, the form will also be used to seek approval for changes in the ATSC 1.0 host station, or changes in the ATSC 3.0 channel on which the station’s programming is transmitted. If, for any reason, the station wants to convert back to ATSC 1.0, the form is also required for that purpose. Other than to permanently discontinue the ATSC 1.0 transmissions at some point in the future, the ATSC 1.0 host station will not need to file anything with the FCC as long as its technical facilities do not need to change as a result of hosting the programming of a station that has converted to the NexGen TV standard.

We have heard that the FCC plans to move quickly on applications for ATSC 3.0 operations, but the Public Notice states that stations currently operating with experimental authorizations should allow at least 30 days to get permanent approval to operate with their ATSC 3.0 facilities. If the Commission does indeed move quickly, and if the NexGen coalitions follow through on recent promises that they are ready to roll out the new television transmission standard in the largest TV markets, consumers may soon be seeing the deployment of these signals in many markets. And stay tuned for the rollout of ATSC 3.0 television receivers in the big box stores, perhaps by the end of this year.

10 hours of live drones celebrate Drone Day, a noise round the world

Delivered... Peter Kirn | Scene | Wed 29 May 2019 1:47 pm

Ready to drone the f*** out? Here’s your own personal all-night chillout stage, full of ten hours of drones. It’s all part of a growing international annual celebration of drone sounds.

Oh sure, if you’re American you probably had Memorial Day weekend on the mind last weekend. But there was another holiday, too, dedicated to ambient and experimental music.

“Every year we make a noise together that stretches around the world,” proclaim the organizers on the site.”The answer comes through tiny vibrations in our skin and between our bones,” they say. “Gather and drone with friends, with the public, or alone (though you are never truly alone in the drone).”

Drone, community, and experimental sounds are all welcome. The ritual began a few years ago with organizers Marie Claire LeBlanc Flanagan and Weird Canada. This year’s edition had some 60 drone events worldwide.

But if you missed Drone Day on Saturday, don’t worry – you didn’t miss out. We’ve got a full ten hours recorded (and streamed live) in Berlin for your droning needs.

The details of this broadcast, plus the (very lovely) performing lineup:

For Drone Day, May 25th 2019, a live studio broadcast and deep listening session was held in Berlin with funding support from the Musicboard Berlin GmbH. An audio broadcast was also streamed with kind thanks to Radio nunc from 14.00-22.00CET.

0:00:00 improvisation with diane + vida vojić
0:31:00 DuChamp
1:13:00 sn(50)
1:58:00 -akis
2:22:30 adsx
3:34:10 vida vojić
4:28:31 improvisation with diane + DuChamp
5:15:30 Auguste + Nina Guo
5:55:30 Nina Pixel
6:58:32 Inter Lineas
7:44:05 improvisation with diane + Alexandra Macià + sn(50)

It’s not actually shot in black and white murk; we just live like that in Berlin – it follows us around, like a fog.

Happy droning.

The post 10 hours of live drones celebrate Drone Day, a noise round the world appeared first on CDM Create Digital Music.

The ABCs of Live 10.1: 2 minutes of shortcuts will help you work faster

Delivered... Peter Kirn | Scene | Wed 29 May 2019 1:21 pm

A is for Ableton Live – and Madeleine Bloom can get you up and running with a bunch of 10.1 shortcuts in just over two minutes.

Madeleine of Sonic Bloom is one of the world’s top experts for staying productive in Live (to say nothing of helping us re-skin the thing so the colors are the way we want).

Live 10.1 actually added a lot of shortcuts to save you time – it’s what 10 promised, but implemented in a way that makes more sense. And she plows through them in a hurry:

via SonicBloom, which has loads more

F lets you get at fades right away.

H makes everything fill space vertically in the Arrangement so you don’t have to squit.

My personal favorite – Z, which zooms right to what’s selected and fills the Arrangement so you can focus and see easily.

And more…

This is all so much better than hunting around.

Z is so much my favorite that it just earned this:

For more on Live 10.1 and how to get started:

Ableton Live 10.1 is out now; here are the first things you should try

The post The ABCs of Live 10.1: 2 minutes of shortcuts will help you work faster appeared first on CDM Create Digital Music.

Meet Kikelomo: The London-Born DJ Bringing UK Sounds To The Berlin Underground

Delivered... Derek Opperman | Scene | Wed 29 May 2019 11:57 am

The post Meet Kikelomo: The London-Born DJ Bringing UK Sounds To The Berlin Underground appeared first on Telekom Electronic Beats.

Pratibha Singh Baghel on reprising the iconic Umrao Jaan Ada on stage – RadioandMusic.com

Delivered... | Scene | Wed 29 May 2019 8:00 am
Pratibha Singh Baghel on reprising the iconic Umrao Jaan Ada on stage  RadioandMusic.com

MUMBAI: Mughal-E-Azam and Umrao Jaan are two of the most revered films in Hindi film history. The performances, the music, and the stories continue to ...

Teenage Engineering work with Rick & Morty creator on Pocket Operator

Delivered... Peter Kirn | Scene | Tue 28 May 2019 9:25 pm

Synth love is reaching into the world of television. Teenage Engineering’s latest Pocket Operator not only features animated cult hit Rick & Morty, but involves a direct collaboration with that show’s producer.

Oh yeah, and I guess Justin Roiland kind of gets an edge on the rest of us in that he has an Emmy Award and we don’t. (Not yet. Hmmm… maybe Bastl Instruments and I will make a wacky sitcom set in a Czech village.)

From the description, it’s a little unclear what the PO-137 actually is, other than limited edition with various TV tie-ins. Yes, there are Rick & Morty animations added to the graphics. And yes, you get some custom samples voiced by Roiland himself. (You can hear some of those on the TE preview site.)

But I think it’s a safe bet that the PO-137 is really a re-skin of the PO-35 Speak. Both have “8 vocal characters,” but now those characters come from Rick & Morty. So look to the Speak specs for an idea of what’s in store:

vocal synthesizer and sequencer with built-in microphone for 8 different voice character sampling.

microphone for sampling
120 seconds sample memory
8 voice characters
8 effects
transpose and change scale
replaceable drum sounds with microtonic (sold separately)

This reminds me a bit of when KORG unveiled their OK Go edition volca sample. But Rick & Morty’s rabid fanbase seem to make for a sure-fire hit.

Personally, I don’t want any of your cheap merch, and I can’t really get into Rick & Morty paraphernalia. I just want you to give me a damned portal gun. Now that’s something I’ll invest in.

Also, side note, missed opportunity here – what someone really needs to create is BMO from Adventure Time. I guess we just have to wait and see how Playdate works out.

I’m just going to ponder what the most obscure cartoon partnership we can imagine for MeeBlip. So, Fyodor Khitruk isn’t alive any more, but maybe, like, one of his animators? (Винни-Пух for Eurorack!) How about a Hedgehog in the Fog ambient synth?

I’m sorry, this was supposed to be a news story or something. Please, go on about your day. Спасибо и спокойной ночи.

Preorders in July; shipping in November. The Pocket Operator… Винни-Пух synth I can’t answer.


The post Teenage Engineering work with Rick & Morty creator on Pocket Operator appeared first on CDM Create Digital Music.

Ableton Live 10.1 is out now; here are the first things you should try

Delivered... Peter Kirn | Scene | Tue 28 May 2019 1:12 pm

Ableton Live 10.1 is here, a free update to Live 10.1 with some new devices, streamlined automation and editing, and new sound features. So what should dig into after the download? Here’s a place to start.

There’s no surprise reveal here since 10.1 has been in public beta and was announced in the winter. Here’s the full run-down of what’s in the release from February (still accurate):

Ableton Live 10.1: more sound shaping, work faster, free update

I’ve been working with the beta for some time, to the point of not wanting to go back even to 10.0 (or even getting a bit confused when switching to a friend’s machine that didn’t have 10.1).

So let’s skip ahead to stuff you should check out right away when you download:

Refresh a track in Arrangement View

I will shortly do a separate story just on getting around Arrangement View quickly, but — there’s a lot of fun to be had. (Yes, fun, not just screaming at the screen as you painstakingly move envelopes around.)

Ableton have accordingly updated their Arrangement View tutorials:

(Video is actually a terrible medium for shortcuts, but more on those soon.)

Here are some quick things to try:

Resize the Arrangement Overview (that’s the bit at the top of Arrangement View)

Draw some shapes! Right click, pick some shapes, and you can draw in envelopes. Try this actually two ways: first, select some time and draw in shapes. Next, deselect time, and try drawing with different grid values – you’ll get different corresponding quantization.

Get at fades directly. Press the F key.

Clean up envelopes. Right click on a time selection and choose Simplify Envelope.

Stretch and scale! Select some time in automation, and you’ll see handles so you can move both horizontally (amount/scale) and vertically (in time).

Enter some specific values. Right click, choose Edit value, type in a number, and hit enter.

There’s a lot more. But all of this is an opportunity to duplicate one of your projects and give it a refresh by going nuts with some modulation because – why not.

You know, conventional wisdom says, don’t mess with your existing tracks too much. The hell with that. If I were a painter, I would definitely be the kind constantly scraping away and painting over canvases. You can always save a backup. Sometimes it’s fun to mess around and take something somewhere else entirely.

Everything Freezes

Go ahead and freeze whatever you want! Track has a sidechain? It’ll freeze. It’ll even still be a source for other sidechains. (There are actually a bunch of things that had to happen for this to work – check Arrangement Editing in release notes if you’re curious. But the beauty is you don’t really have to think about it.)

Here’s a new explanation of how it works:

Try your own wavetables

User wavetables make the Live 10 Wavetable synth far more interesting.

Like arrangement, this probably deserves it’s own story, but here’s a place to get started:

And for extra help exploiting that feature, there are some useful utilities that will assist you in creating wavetables:

Generate wavetables for free, for Ableton Live 10.1 and other synths

While you’re in there, Ableton quietly added a very powerful randomization feature inside Wavetable for glitching out still more:

Added a new “Rand” modulation source to Wavetable’s MIDI tab, which generates a random value when a note starts.

Pinch and zoom

Trackpads and touchscreens (most of them, anyway) now support pinch gestures in Arrangement View, so try that out. It works for me both on a Razer and (of course) Apple laptop; lots of other hardware will work, too. It’s a little thing, but zooming is a big part of getting around an arrangement.

Try Channel EQ as a creative tool or live

There are already a lot of EQs out there. The Channel EQ however has some draw as a potential equivalent for live PA / experimental sets of what the EQ Three has been for DJ sets.

Stop futzing around with sends when you export stems

Okay, see if this is familiar:

You output stems – say for a remix artist or to mix in a different tool – and suddenly everything sounds completely differently than you expected because you used sends and returns and/or master effects.

That’s no longer an issue in 10.1, as there’s now a new export option that addresses this.

So, time to go make some stems, right?

Make some new sounds with Delay

Okay, Delay at first glance may seem like a step backward from the excitement of Space Echo-ish Echo in Live 10. Isn’t it just a combination of Simple Delay and Ping Pong Delay into one Device?

Well, it is that, but it also has an LFO built in that can modulate both delay time and filter frequency.

These modes were there before, but you now surface Repitch, Fade, and Jump modes as buttons.

So put all of this together, and the combination of things that were there that you didn’t notice, with new things that are simple but very powerful, all together in one unit becomes very powerful indeed.

That is, if you’re modulating something like delay time, then changing between Repitch, Fade, and Jump actually gives you a lot of different sonic possibilities. And yes, this is the sort of thing people with modular rigs like to do with wires but… if you’re a Live 10 owner, it’ll cost you nothing to check out right now.

Specifically, maxforcats pointed us to some cool granular-ish sounds when you choose Fade mode and start modulating delay time.

And keep using Echo. The big challenge with an effect like Echo is balancing loudness. As it happens, there’s a little right-click option that solves this for you in Echo:

In the Echo device, the Dry/Wet knob now features a context menu to switch to “Equal-Loudness”. When enabled, a 50/50 mix will sound equally loud for most signals, instead of being attenuated. In the Delay device, the maximum delay time offset is now consistent with the Simple Delay and Ping Pong Delay devices.

Discover Simpler, again

Simpler is weirdly a lot of the time a reason to use Ableton Live for its absurd combination of directness and power – in contrast to mostly overcomplicated software (and harwdare, for that matter).

Now you can mess around with volume envelopes (even synced ones) and loop time, previously only in Sampler – for both powerful sound design and beat-synced ideas:

Added a Loop Mode chooser, Loop Time slider and Beat Sync/Rate slider to the Volume Envelope in Simpler’s Classic Playback Mode. Previously, these controls were exclusively available in Sampler.

Oh, and go map some macros

You’d probably easily miss this, too – it means that now mapping macros works the way you’d expect, in fewer steps:

When mapping a parameter to an empty macro, the macro assumes the full range of the target parameter, and will be set to the current value of the target parameter.

— and while using mice for everything is no fun, macros are also a great intermediary between what you’re doing onscreen and twisting knobs on controller hardware (Push, certainly, but lots of other gear, too).

Speaking of which, that nice compact NI keyboard controller works thanks to this update, too, making it an ideal thing to throw in your bag with a laptop for a mobile Ableton Live work rig.

Where to find more on 10.1

Detailed ongoing release notes on Live 10 are here:
Live 10 Release Notes

Ableton’s overview of what’s new:
Live 10.1 is here

And to download the update, either enable auto-update or check your account:

The post Ableton Live 10.1 is out now; here are the first things you should try appeared first on CDM Create Digital Music.

Sunidhi Chauhan joins global campaign – RadioandMusic.com

Delivered... | Scene | Tue 28 May 2019 8:00 am
Sunidhi Chauhan joins global campaign  RadioandMusic.com
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