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Indian E-music – The right mix of Indian Vibes… » 2019 » May » 10

Your music software goes modular: builder-friendly Bitwig 3 beta is here

Delivered... Peter Kirn | Scene | Fri 10 May 2019 11:14 pm

It may have been in the temple of wires and racks, but Berlin’s Bitwig chose this weekend’s Superbooth to launch a public beta of their all-modular DAW, Bitwig Studio 3. It lets you wire together with hardware, or just inside software, or as a combination.

It’s called The Grid – and it’s all about patching inside your music workflow, so you can construct stuff you want instead of dialing up big monolithic tools and presets. And that sounds great to builders, I’m sure.

Going modular was really the promise of Bitwig Studio from the start – something to rocket the software from “oh, hey, I can run something kinda like Ableton on Linux” to … “wow, this is something really special.”

The idea is, get a music making tool that not only behaves like a set of tracks and channels, or a bank of patterns and samples, and more like a toybox that lets you built whatever you want from various blocks. And before anyone tries to launch another of those “hardware versus software” debates (yawn), a friendly reminder that computers used a modular generator model for digital audio in the late 1950s – years before any recognizable hardware modular was even a thing. (Okay, granted, you needed a stack of punch cards and access to an IBM mainframe or two and the user base was something like ‘people who happen to know Max Mathews,’ but still…)

Bitwig Studio 3 is in beta now, so you can toy around with it and see what you think. (Bitwig are very clear about not putting important projects in there.)

I wrote about this at the start of this year.

Bitwig Studio is about to deliver on a fully modular core in a DAW

But now there’s a friendly video to walk you through how it all works:

Basically, think friendly musical blocks for pattern and timbre, pre-cords so things are patched easily, and powerful features with phase.

With Beta 1, we also see some specifics – you can produce your own stereo synths and effects with the two Grid devices:

Patching may be a nerdy endeavor, but Bitwig’s design makes it much friendlier – and there’s already great tutorial documentation even in the beta.

Poly Grid: “for creating synthesizers, sequenced patches (like a beatbox), droning sounds, etc.”

FX Grid for effects

Signal/modulation I/O – including pressure, CV (like from hardware)

Visualization (labels, VU, readouts)

Phase – loads of stuff here, as promised: Phasor, Ø Bend, Ø Reset, Ø Scaler, Ø Reverse, Ø Wrap, Ø Counter, Ø Formant, Ø Lag, Ø Mirror, Ø Shift, Ø Sinemod, Ø Skew, Ø Sync

Oscillators (including Swarm, Sampler)



Envelope / follower

Shaper (ooh, Chebyshev, Distortion, Quantizer, Rectifier, Wavefolder)

Filter (Low-pass LD, Low-pass SK, SVF, High-pass, Low-pass, Comb)

Delay types – need to dig into these; they look promising

Mix – Blend, Mixer, LR Mix, Select, Toggle, Merge, Split, Stereo Merge, Stereo Split, Stereo Width

Level – Level, Value, Attenuate, Bias, Drive, Gain, AM/RM, Average, Bend, Clip, Hold, Lag, Sample / Hold, Level Scaler, Bi→Uni, Uni→Bi

Pitch scalers and tools

Math operators

Logic operators

— all in all, it’s a really nice selection of tools, and a balance of low-level signal tools/operators and easy convenience tools that are higher level. And it’s also not an overwhelming number – which is good; it’s clear this should be its own tool and not try to replicate the likes of Max, SuperCollider, and Reaktor.

More improvements

Also in this build:

Reworked audio backends for every OS (good)

UI overhaul

Ableton Link 3 support with transport start/stop sync

And – a little thing, but you can view the timeline with actual time (minutes, ms) …

More on this soon.

Beta users will find a really nice, complete tutorial so – you can start practicing building. Have fun!


The post Your music software goes modular: builder-friendly Bitwig 3 beta is here appeared first on CDM Create Digital Music.

FCC Adopts New Rules on FM Translator Interference – With Some Changes

Delivered... David Oxenford | Scene | Fri 10 May 2019 4:21 pm

At its open meeting yesterday, the FCC largely adopted the draft order on changes to its processes for resolving complaints about interference from FM translators to existing FM stations. Its final Report and Order adopting the new rules was released after the meeting yesterday. The general guidelines that we detailed in our summary of the draft order were adopted – so that complaints will generally be considered only when they are from within a primary station’s 45 dBu contour (with a potential for consideration of complaints from outside that contour through a waiver process, where the complaining station shows that there is a significant pocket of listeners outside that contour), and only when a threshold number of bona fide listener complaints have been filed.  When a sufficient number of complaints have been filed, the FCC will ask the operator of the translator to either resolve all complaints by resolving the interference complaints of each of the complaining listeners or by working with the operator of the pre-existing station. If no resolution can be worked out, the parties to the dispute are to engage a third party consulting engineer. FCC will make the final determination whether the interference has been resolved based on information provided by the third-party engineer. If the interference is not resolved to the satisfaction of FCC staff, a translator can be ordered off the air.

The biggest change from the draft order is in the number of complaints necessary to sustain a complaint in bigger markets. In the draft order, the Commission proposed that a station with millions of people in its protected service area might need as many as 65 listener complaints to sustain an interference objection. The Order adopted yesterday changed that tentative decision and instead capped the number of listener complaints that were needed to support an interference claim at 25 for stations with over 2 million people in their protected contour. The FCC also made clear that listeners cannot be offered payment or other inducement for submitting a complaint. Finally, the Commission decided that it would resolve all complaints in 90 days unless there was a compelling reason for more time. Once the FCC has determined that an appropriate number of interference complaints have been filed, it will notify the parties of that fact, and provide intermediate deadlines for submission of a remediation plan or other benchmarks as appropriate. If nothing is resolved in 90 days, and there are no unusual circumstances warranting more time, the FCC may order the offending translator off the air at the end of that period.

These rules become effective 60 days after Federal Register publication, except for information collection requirements, which seemingly include most of the requirements for filing complaints. These portions of the order do not become effective until approved by the Office of Management and Budget after a Paperwork Reduction Act review. So it may be several months before this new resolution process becomes fully effective. Nevertheless, it appears that the FCC has taken action to try to bring order to a process that, at the current time, can seemingly drag on forever.

10 Tracks That Define The Savage Neo-Gabber Sound Of Poland’s WIXAPOL S.A. Party

Delivered... Derek Opperman | Scene | Fri 10 May 2019 1:34 pm

The post 10 Tracks That Define The Savage Neo-Gabber Sound Of Poland’s WIXAPOL S.A. Party appeared first on Telekom Electronic Beats.

Jamila Woods: Legacy! Legacy! review – joyful, loving testimony to black artists

Delivered... Aimee Cliff | Scene | Fri 10 May 2019 10:30 am


On her 2016 debut Heavn, musician, teacher and activist Jamila Woods crafted an ode to her home town of Chicago, and a new kind of protest music. Her contemplative, modern style of soul is built both for marching, and for recuperation, when you need to recover from the fight.

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Rosie Lowe: YU review – seductive, minimalist soul probes power balance

Delivered... Dave Simpson | Scene | Fri 10 May 2019 10:00 am

(Wolf Tone)

Rosie Lowe’s 2016 major label debut, Control, explored the need to retain – and occasionally, learn to relinquish – power, especially relating to a woman in the music industry. Three years and a switch from Polydor to Adele/Florence producer Paul Epworth’s indie label later, the 29-year-old Devon-born Londoner slightly changes tack. When YU– pronounced ‘You’ and also ‘Why You’ – investigates the same themes, it’s within a relationship. It’s an album about love: insecurities, desire, contentment and the shifting balance of power. Her vehicle, again, is smooth, sultry, minimalist, electronic soul and R&B, somewhere between James Blake and Sade or Minnie Ripperton. There’s a hushed stillness to the way Lowe’s words glide over the stripped-down, becalmed grooves, before gentle soul gives way to more uptempo beats and sentiments. With that template, it’s a varied mix.

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Holly Herndon: Proto review – dystopia averted! AI and IRL in pop harmony

Delivered... Ben Beaumont-Thomas | Scene | Fri 10 May 2019 9:00 am

Herndon’s own AI, Spawn, augments her group’s flesh-and-blood vocals to challenge our fear that machines are taking over

There’s something soothing about how rubbish Google’s new predictive email tools are – if AI can’t work out what you want to tell your accounts department, then it won’t be organising a Terminator-style insurrection any time soon. So what hope does AI have for composing music, if bland office missives are too creatively challenging?

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Katy Perry loves ‘Indian’ twist to her Met Gala look – RadioandMusic.com

Delivered... | Scene | Fri 10 May 2019 8:00 am
Katy Perry loves 'Indian' twist to her Met Gala look  RadioandMusic.com

MUMBAI: Katy Perry attended the 2019 Met Gala as a human chandelier, and now the singer has expressed her appreciation for an Indian version of the attire.

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