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


Romance and underground, the world of SOMA Laboratory’s machines

Delivered... Peter Kirn | Scene | Wed 31 Jul 2019 7:30 pm

“Underground romantic engineering” is the motto of up-and-coming gearmaker SOMA Laboratory. Here’s a look at the Russian-Polish foundry creating wild new electronic instruments – and their latest creation.

Music store All For DJ has become a badly-needed new hub for Moscow’s electronic producers. Despite the name, they’re host to all kind of electronic instruments. I met the folks operating the retailer earlier this summer, and it’s an oasis – easy access to lots of gear, which had until recently sometimes been a challenge in Russia, and also tons of information (including a Russian-language blog).

And they’re producing documentaries, like this one looking at SOMA. It’ll definitely be up CDMers’ alley – Ukrainian-Russian creator Vlad Kreimer is the kind of mad scientist experimental musician we love. Now, his Lyra-8 has become a sought-after, one-of-a-kind instrument, and he’s teaming up with Vyacheslav Grigoriev (previously of VG-Line). (Vyacheslav joined me last year on a panel for Synthposium in Moscow, talking about his upbringing in electronics in the USSR.) The operation is growing, with operations both in Russia and Poland, as the electronic music community embraces exactly this sort of strange.

The film is a beautiful and intimate portrait of the creators and their ideas (subtitled in English):

The Lyra synth is like a “book, album, work of art that contains a message,” says Vlad. And there’s a new tome coming – the Pulsar-23, which brings the same ethos to drum machines. Its release is eagerly anticipated, with photos (seen here) showing it in final prototype state, about to hit production. (Advance buyers are apparently bugging them for that.)

Vlad showed off the new box at Superbooth in Berlin in May (which I missed, ironically, as I had to fly to St. Petersburg – positions keep swapping):

PULSAR-23 presentation on Superbooth 2019

Gepostet von Vlad Kreimer am Sonntag, 12. Mai 2019

Selekta.fm did a hands-on, too, and – wow, that sound.

Selekta also did a full interview:

I hope I get to experience this drum machine in person, soon, as well. Best with the project to SOMA. Meanwhile, behold:

The post Romance and underground, the world of SOMA Laboratory’s machines appeared first on CDM Create Digital Music.

FCC Extends Comment Dates on Rulemaking to Evaluate the Effectiveness of its EEO Rules

Delivered... David Oxenford | Scene | Wed 31 Jul 2019 3:54 pm

The FCC yesterday issued an Order announcing that it was extending the comment dates for its rulemaking to examine the effectiveness of its EEO rules. We summarized that rulemaking here. The new comment deadline is September 20, with reply comments now due by November 4. As we wrote here, this proceeding has already attracted the attention of a coalition of small broadcasters who have filed comments seeking relief from many of the paperwork obligations that are imposed on broadcasting companies with less than 50 employees. We expect other ideas as to how to make the rules more effective to be advanced in this proceeding – and now parties have more time in which to craft their comments.

From Siberia To Saint Petersburg: The Story Of Russia’s GAMMA Techno Festival

Delivered... chloe | Scene | Wed 31 Jul 2019 3:34 pm

The post From Siberia To Saint Petersburg: The Story Of Russia’s GAMMA Techno Festival appeared first on Telekom Electronic Beats.

8 hours of Dance with Pride radio, broadcast from an ex-prostitution window

Delivered... Peter Kirn | Scene | Wed 31 Jul 2019 1:08 pm

Amsterdam collective Dance with Pride’s launched an eight hour takeover of Red Light Radio over the weekend. It’s worth a listen, covering the gamut from sex worker activists to “cheap Moroccan music”.

Dance with Pride got its start as a way of bridging activism around LGBTQIA+ pride with the dance music community. Apart from taking on the causes of the marginalized, it also offers something for your ears that should be refreshing – a needed break from business-as-usual sound. (Hey, music is good at that. Diversity isn’t just some political abstraction, but something that can tickle your ears.)

As its organizers offered in 2017, that’s a chance for an all-encompassing and necessary approach to a broad spectrum of artists:

“The Dance With Pride initiative kindly reminds you that the roots of Dance Music stem from diverse Queer, Black and Latino communities … This Pride weekend is the perfect time to reflect on this and pay your respects on the dance floor.”

Progressive-minded Amsterdam is known for being outspoken and forward-thinking on these issues, and it’s fitting that the radio takeover takes place in a street-front window formerly used by prostitutes. (It’s still the red light district around the radio station, in the tourist-crowded center of the city, where space is at an impossible premium. Having DJed there, you get a kind of fascinating fishbowl effect – so plenty of gawkers peer in from roughly the same vantage point as the infamous Internet streaming camera.)

Even in Amsterdam, though, there’s a palpable sense of urgency. Summer 2019 in Europe brings elevated concerns for the safety of queer communities. Right-wing pressure has erupted across the continent, including in alarming attacks in Poland that involved some members of the electronic music community there. The Netherlands have also seen right-wing groups, hostile to queer populations, seated in government – and an upswing in harassment. And yes, even in the supposed “bubble” of Berlin, there are fresh worries about repression. (Happily, the Pride March here in Berlin also this weekend was a peaceful event, even with 1 million attendees.) This year was the 50th anniversary of the so-called Stonewall Riots – and a reminder that the root of the event wasn’t a party, but political demonstrations by people whose safety was threatened.

That puts Dance with Pride’s efforts in a new light – that of a shared, international cause. So it’s wonderful seeing a mix of albums and interventions, English, Dutch, and Arabic, Somalia and Holland.

Let’s tune in. Select Facebook videos first, then Mixcloud audio links for everything at bottom (including if you disable Facebook content – and good for you, heh).

Vjuan Allure, originator of Ballroom Beatz joins Zelda Fitzgerald from For All Queens. [ Watch ]

Association AKALIYAT – جمعية أقليات have a full hour of tunes from this Arabic queer collective. [ Watch ]

Lazer Gazer joins with queer Arabic music (oh heck, yes, that’s a thing, whatever your image of Arabic people may be). It’s led by Dance with Pride organizer Axmed, Somali-Dutch music personality and an all-around wonderful and thoughtful person, reading a Somali text. [ Watch ]

Nat Portnoy from Amsterdam Queer Porn Collective, Dorothy Waste playing live “witchy industrial tenderness from this (un)holy priestess”:

Up next Nat Portnoy from Amsterdam Queer Porn Collective in conversation. Following we'll have Dorothy Waste playing live until five! Prepare for witchy industrial tenderness from this (un)holy priestess.

Gepostet von Dance With Pride am Samstag, 27. Juli 2019

LIONSTORM and DJ Jasmine Perez:

LIONSTORM and DJ Jasmine Perez 🦁DJ Jasmine Perez will play for the first few followed by LIONSTORM presenting #noh8ro

Gepostet von Dance With Pride am Samstag, 27. Juli 2019

Mixclouders, go!

https://www.instagram.com/dancewithpride_insta/
https://soundcloud.com/dancewithpride
https://www.facebook.com/dancewithpride.fcbk/

The post 8 hours of Dance with Pride radio, broadcast from an ex-prostitution window appeared first on CDM Create Digital Music.

The month’s best mixes: cosmic connections and oceanic electronics

Delivered... Lauren Martin | Scene | Wed 31 Jul 2019 1:00 pm

ADAB brings Afrofuturism into the psychedelic mix, while Russell EL Butler taps into the African diaspora

Neptunian Influence: ADAB

Related: The month's best mixes: infectious singeli and full-throttle floorfillers

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Hip-hop and funk producer Ras G dies aged 39

Delivered... Ben Beaumont-Thomas | Scene | Tue 30 Jul 2019 9:47 am

Afrofuturist producer was an influential figure on LA alternative hip-hop scene and co-founded the Brainfeeder collective

Hip-hop and funk producer Ras G, co-founder of the influential Brainfeeder collective, has died aged 39. No cause of death has been given but he had revealed in December that he had diabetes and pneumonia.

Born Gregory Shorter Jr, Ras G was known for cosmic, Afrofuturist music that mixed genres including jazz, funk, soul, hip-hop and psychedelia. He released 24 albums and mixtapes since his debut in 2008, collaborated with artists including Thundercat and Open Mike Eagle, and frequently appeared at the Low End Theory, the Los Angeles club night that helped to reintroduce funk, jazz and electronic music to the city’s hip-hop scene.

Ras_G has left the planet, far beyond the galaxy.
Show us the way to the cosmos my friend.
I will love you forever.
Thank you for your time on earth.

Ohhhhhhrassssssssss
*airhorn*

Continue reading...

Hip-hop and funk producer Ras G dies aged 39

Delivered... Ben Beaumont-Thomas | Scene | Tue 30 Jul 2019 9:47 am

Afrofuturist producer was an influential figure on LA alternative hip-hop scene and co-founded the Brainfeeder collective

Hip-hop and funk producer Ras G, co-founder of the influential Brainfeeder collective, has died aged 39. No cause of death has been given but he had revealed in December that he had diabetes and pneumonia.

Born Gregory Shorter Jr, Ras G was known for cosmic, Afrofuturist music that mixed genres including jazz, funk, soul, hip-hop and psychedelia. He released 24 albums and mixtapes since his debut in 2008, collaborated with artists including Thundercat and Open Mike Eagle, and frequently appeared at the Low End Theory, the Los Angeles club night that helped to reintroduce funk, jazz and electronic music to the city’s hip-hop scene.

Ras_G has left the planet, far beyond the galaxy.
Show us the way to the cosmos my friend.
I will love you forever.
Thank you for your time on earth.

Ohhhhhhrassssssssss
*airhorn*

Continue reading...

Grainstation-C is a free granular tool with ambisonics, and an album to match

Delivered... Peter Kirn | Scene | Mon 29 Jul 2019 8:39 pm

It started as an artist tool, but it could become yours, as well. Grainstation-C is a free and open source sound creation workstation that’s playable live and supports ambisonic spatial sound. And the music its creators makes is ethereal and wonderful.

Micah Frank, noted sound designer and toolmaker as well as composer/musician, produced Grainstation-C for his own work but has expanded it to an open source offering for everybody. I’ve been waiting for this one for a while, and I think it could appeal both to people looking for a unique tool as well as those wanting to learn a bit more about granular sound in Csound.

https://github.com/chronopolis5k/Grainstation-C [link + full installation instructions, etc.]

http://csound.com/download.html [requisite Csound install]

The engine: 4 streams from disk, 3 streams from live input. Live audio looping, multiple grain controls, six independent pitch delay lines, six switchable low- and high-pass filters. Snapshot saving.

Powered by: Csound, the modern free and open source sound creation tool that evolved from the grandparent of all digital audio tools.

Live control: It’s pre-mapped to the eminently useful Novation LaunchControl XL MK2, but you could easily remap it to other MIDI controllers if you prefer.

Ambisonics: This optional spatial audio processing lets you use a standard format to adapt to immersive sound environments – in three-dee! Or not, as you like.

It’s deep stuff – even with different granular modes and controls (time stretching, frame animation, pitch shifting). The inspiration, says Micah, was the now-discontinued System Concrète, a complete MakeNoise modular rig that combined grains with modulation, filtering, and delays. But – as is easily possible with software, unconstrained by knobs and space and money – he kept going from there.

Equally notable is the ethereal, beautiful album Quetico that also debuts this week, on Micah’s own Puremagnetik record label. Once, the line between toolmakers and musicians, engineers and composers was thought sacred – even with elaborate explanations about why the two couldn’t be compared. But just as electronic artists have demolished other sacred walls (club and concert, for instance), Micah is part of a generation doing away with those old prejudices.

And the results are richly sensual – warm waves of sound processed from Yellowstone geysers and Big Sur nights, Micah says. It’s classic ambient music, and the tool simply melts away, the essential craft of delivering a palette of sound. At the same time, being transparent with the tools is the ultimate confidence in one’s own musical invention. Micah’s Puremagnetik was a business built in making sounds for others, and yet both the album and free tool suggest the limitless possibility of that act of sharing.

In any event, this is acousmatic creation of the finest quality, with or without the GitHub link. And Micah is getting some deserved recognition, too, with a 2019 New York Foundation award for the Arts Fellow in Music and Sound.

With so much of the sound out of my country of origin the United States ugly, it’s wonderful to hear beautiful algorithmic sounds derived from the nation’s national parks instead.

https://micahfrank.bandcamp.com/album/quetico

Image credit: “Yellowstone 8/07”by stevetulk is licensed under CC BY 2.0

The post Grainstation-C is a free granular tool with ambisonics, and an album to match appeared first on CDM Create Digital Music.

1000 free Novation presets from Legowelt, Emily Sprague, Shawn Rudiman…

Delivered... Peter Kirn | Scene | Mon 29 Jul 2019 7:57 pm

Novation are going patch crazy, with 1000 free artist patches for their Peak synth and newest Summit. And they come from some of our favorite artists.

“Presets,” “artists,” blah blah… but wait, the lineup here includes Legowelt, Craig Williams, Lightbath, Hinako Omori, Emily Sprague, and Shawn Rudiman, plus others to be announced.

Novation use their Components Web interface to deliver updates, content, and expanded functionality to their users, and they’ve been pioneers in innovative use of the tech for that role. That interface has sometimes been in need of a refresh, though, and so the other big news is that they’ve overhauled the UI.

Now you can see the Bank Editor next to content, you can filter presets, and you can choose to see your own stuff alongside Novation’s if you choose. Plus – mercifully – login isn’t mandatory any more (though you’ll need it to authenticate your own content you store online, of course).

Peak and Summit are well suited to some clever patch design, what with multiple synthesis methods simultaneously, modulation, and effects. It’ll be interested to see what they’ve cooked up.

More:

https://novationmusic.com/peak-summit-presets

Speaking of Legowelt and Shawn, flashback time:

The post 1000 free Novation presets from Legowelt, Emily Sprague, Shawn Rudiman… appeared first on CDM Create Digital Music.

Crossover VCV Rack modular: Vult goes hardware, as Erica adds free software

Delivered... Peter Kirn | Scene | Mon 29 Jul 2019 6:50 pm

Hardware or software? Yes. Modular synthesizers, of all things, are blurring the line between the two. The popular Vult line of software modules for VCV Rack is going hardware, just as Erica Synths offers its popular hardware in a free software form on the same platform.

VCV Rack has rapidly established itself as a platform for other modules in a way that nothing else has. The software modular is free, with a rich free ecosystem, with only useful add-ons (from the developer and third parties) costing money. It’s also strikingly approachable for developers as well as users.

But that’s in turn leading to some fascinating crossovers.

This week, developer Leonardo Laguna Ruiz announced that his Vult module, which existed only in VCV Rack virtually, is now up for preorders as actual hardware.

Vult Freak incorporates a bunch of different modules in one (thanks, code modeling):

  • Tangents – Steiner-Parker filter containing three different variations.
  • Lateralus – Ladder filter.
  • Nurage – Low pass gate / Borg filter.
  • Ferox – CMOS filter.
  • Vortex – Russian fitler.
  • Unstabile – Circuit bent State Variable filter.
  • Stabile – State Variable filter.
  • Rescomb – Resonant Comb filter.
  • Vorg – MS-20 style filter

Demos:

I’ve used a lot of these in my own musical experiments in Rack, and do they sound good? Yes, they do. (Unstabile and Vortex are particularly delicious for those of us who enjoy rich, manic distortion.)

€225 buys you this stuff as physical device – and frees you from having to mouse around and worry about crashes or running out of CPU, natch.

A community of followers built on the VCV Rack ecosystem now are likely to follow Vult on into hardware. Preorder-ready hardware, seen here.

Maybe it’s the story behind the device that’s just as compelling – a few years developing a language, a couple of years experimenting in VCV Rack, then making the leap into hardware. There’s a bug that bites people who get into buying Eurorack, but there’s one for development, too.

I don’t doubt that some of the loyal users of the software will splurge for the hardware, too. And rather than blowing cash on something, then bolting it into a rack and hoping you can figure it out, the software-first model means many people who do buy Vult Freak will already know how to use it.

With that in mind, it’s also worth mention that Latvian titan of modular Erica Synths, with their expansive catalog, have made their first steps into providing software editions. Head to the Library on the VCV site, and you can grab a collection of Erica modules:

The new Erica offers, in software form – Wavetable VCO and Octasource from the Black series, and DRUMS from the Pico series.

https://vcvrack.com/plugins.html

They’re free of charge; just click ‘+ Free’ and update Rack and you’ll get them. Erica are a long way from porting everything they make in hardware – this is a tiny fraction of the full lineup. But they’re a decent taste of what Erica hardware can do. The Black Wavetable VCO is a uniquely capable oscillator with bitcrush and tons of wave modulation options. Octasource is a unique modulation oscillator, and its interface works differently from others, meaning having it in software form is really fantastic. DRUMS is ridiculously compact as is everything in the fascinating Pico series, but it’s a natural for cramming into virtual rigs.

https://www.ericasynths.lv/

I’ll be curious to see if this attracts some new Erica customers. Erica aren’t the first to do this, either – Befaco, Mutable Instruments (as Audible Instruments), and Music Thing (as Stellare) all offer software renditions of their hardware. It’s not hard to imagine at some point that VCV Rack will have a “buy hardware” button on the software. Softube Modular has software ports, too, of some big brands – Mutable Instruments again, the mighty Doepfer, Buchla, 4ms, and Intellijel all have software modules available.

The big difference is business model: VCV Rack is tending more toward either inexpensive paid modules as software, or free software that serves as a demo/preview of hardware.

A minority of electronic musicians live in a place where they can easily just run to a shop and try gear out. But more than that, software promises to create a new communications link between musicians and creators, year-round. We’ll see if that gives Vult a boost in the crowded modular world.

Check out VCV Rack on all platforms:

https://vcvrack.com/

And if you want a hand getting started, the legendary Jim Aikin has written a free e-book that explains what Rack is and how to use it, plus (the bit I liked most) gives a guide to the jungle of modules out there:

The post Crossover VCV Rack modular: Vult goes hardware, as Erica adds free software appeared first on CDM Create Digital Music.

August Regulatory Dates for Broadcasters – License Renewals, EEO, Music Consent Decree Comments, EAS Test, LPFM NPRM and More

Delivered... David Oxenford | Scene | Mon 29 Jul 2019 4:43 pm

Once upon a time, August was a quiet month in Washington, when everyone went on vacation. Sure, there are plenty of vacations that will happen this coming month, but it seems that regulatory activity no longer takes a break. For example, August 1 is the due date for the filing with the FCC of license renewals for all radio stations (including translators and LPFM stations) in North and South Carolina, and the filing of associated EEO forms for all full power radio stations in those states. With the renewal filing comes the obligation that these stations start airing, on August 1 and August 16, their post-filing announcements informing the public about the submission of the license renewal applications. Radio stations in Maryland, Virginia, West Virginia and the District of Columbia, who filed their renewals on or before June 2, also need to keep running their post-filing announcements on these same dates. Radio stations in Florida, Puerto Rico and the Virgin Islands, who are in the next license renewal group with their renewal applications to be filed by October 1, need to start broadcasting their pre-filing announcements this month, also to run on the 1st and 16th of the month. See our post here on pre-filing announcements.

Commercial and noncommercial full power and Class A Television Stations and AM and FM radio stations in California, Illinois, North Carolina, South Carolina, and Wisconsin that are part of an employment unit with five or more full-time employees must place their annual EEO public inspection file reports in their online public file. Links to those reports should also be placed on the home pages of these station’s websites, if they have a website. The effectiveness of these EEO public file reports, and the EEO programs of which they are a part, are being reviewed by the FCC in a proceeding started by a Notice of Proposed Rulemaking about which we wrote here. Comments on this notice asking for suggestions about how to make the EEO rules more effective are due August 21, with reply comments due by September 5.

August 1 is also the date for the next FCC open meeting, where the FCC will consider a rulemaking on changes to certain LPFM rules. The draft Notice of Proposed Rulemaking also proposes to phase out protections to Channel 6 TV stations from all FM stations, including LPFMs, that operate on the noncommercial portion of the FM band. The FCC thinks that TV digital operations have lessened the need for the protections to be afforded the Channel 6 TV stations from FM stations operating in the adjacent noncommercial FM band. We will write more about this proceeding assuming the FCC adopts the NPRM later this week as expected.

August 7 brings the next Nationwide Test of the EAS system. This test will concentrate on the “daisy chain” system used by broadcasters to relay alerts from one station to another across the country (see our post here). Thus, broadcasters’ performance will be under close scrutiny. Be sure that your system is working, and that you file the post-test ETRS Form 2 on August 7, reporting on whether or not your station successfully received and relayed the test message.

August 9 is the date for filing comments on the Department of Justice’s inquiry into whether changes should be made in the antitrust consent decrees that govern the operations of ASCAP and BMI. We wrote about that proceeding here. It is important to broadcasters because the consent decrees require these performing rights organizations to treat all broadcasters in the same manner, and to impose rates that are reasonable (and provide for court review if ASCAP or BMI cannot come to an agreement with broadcast groups as to whether their rates are reasonable). This is an important proceeding that could have significant financial ramifications on the broadcast industry.

Parts of the FCC’s new FM translator interference resolution process, including allowing translators to change to any available channel to resolve an interference complaint, will take effect on August 13. Other portions of the new rules (including the requirement that complaints about interference come from inside a full-power station’s 45 dbu contour and setting out the minimum number of complaints needed to sustain an interference complaint, require prior approval from the Office of Management and Budget before they can take effect.

Later in the month, we would also expect that the FCC will release its final decision on annual regulatory fees to be paid by broadcasters and all other FCC-regulated entities. As we wrote last month, the fees that the FCC initially proposed are being challenged by broadcasters as the proposed radio fees would increase significantly this year without evident explanation. This year TV regulatory fees are moving to a population coverage-based fee, instead of one based on the DMA in which the station operates. That has resulted in some stations’ proposed fees – especially some VHF stations in major markets – to significantly increase. We will be looking for this fee decision soon, as the fees need to be paid in September, before the October 1 start of the next government fiscal year.

As always, these are just some highlights of the regulatory issues that broadcasters will be looking at this month. Check with your own counsel or legal adviser to make sure that we have not omitted any dates that could be important to your operations this month.

Proms at Battersea review – Top of the Pops, roaring cello and static crackles

Delivered... Flora Willson | Scene | Sun 28 Jul 2019 3:12 pm

Battersea Arts Centre, London
This teasing, challenging new-music bill was a mashup of genres, noises and hi-tech tools that rejoiced in sonic breadth

It opened with a vocal tour de force from Jennifer Walshe: snatches of pop hits poured unaccompanied from her lips, lyrics spliced like an anarchic mashup of Top of the Pops 2 footage. And it ended with Oliver Coates brandishing his cello aloft, its tone distorting with each movement – part helicopter, part electric guitar – as layers of synthesised sound roared around him. They dissipated gradually, leaving a single sustained note and ears ringing.

This latest Proms outing beyond South Kensington didn’t just step away from the cavernous Royal Albert Hall into the intimate, artfully lit and stripped-wall surroundings of the BAC. Performed across three small stages surrounding its standing audience, this mixed programme of new music crossed other boundaries: between music and noise, genres and styles, human performers and hi-tech tools.

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Another Warning Letter on CBD Promotional Copy – and Some Ideas on Timing of Government Clarity on Rules on Legal Hemp Products

Delivered... David Oxenford | Scene | Fri 26 Jul 2019 5:16 pm

CBD has been a hot topic for media companies – trying to decipher what products are legal and which can be advertised. We have written a number of articles on CBD, hemp and other cannabis advertising issues (see, for instance, our articles here, here, and here). Each of these articles highlights the confusion about the current state of the law on CBD, not just in the media, but across all industries. Some recent government correspondence indicates that clarity on the legality of CBD production may be coming soon, but that any resolution about the health claims that can be made about CBD products and their use in food and drugs may still be years away. These letters also show that the advertising community risks government concern if advertising does not recognize the continuing regulatory concerns about CBD health claims and its use in food and drugs.

The correspondence that most directly addresses marketing issues is this Warning Letter from the FDA to a CBD distributor in which the FDA warned the distributor about health claims made about its products in the promotional materials that it was distributing online. Many seemingly generic claims about the benefits of CBD were singled out as a source of concern, along with many claims that were more specific citations to studies suggesting that CBD was helpful in treating defined ailments. From the tone of the FDA letter, claims about third-party findings on specific health benefits should not be included in promotional materials. Nor should the more generic claims like these cited in the letter as being problematic:

  • “CBD oil is becoming a popular, all-natural source of relief used to address the symptoms of many common conditions, such as chronic pain, anxiety . . . [and] ADHD.”
  • “The Benefits of CBD Oil for ADHD . . . It’s not unusual for people with ADHD to feel anxious and on the edge. CBD is known for its anti-anxiety properties that can promote relaxation and stress relief. It can also help to restore focus and ability to concentrate on specific tasks, as well as reduce impulsivity.”
  • “CBD can successfully reduce anxiety symptoms, both alone and in conjunction with other treatments.”
  • “CBD oil can be used in a variety of ways to help with chronic anxiety.”
  • “Some of the most common reasons to use CBD oil include . . . Chronic pain . . . Mental conditions like anxiety, depression, and PTSD . . ..”
  • “CBD . . . can be used to help manage a wide range of health conditions, such as . . . Anxiety and depression . . . Chronic or arthritic pain . . ..”
  • “Some of the most common reasons to use CBD oil include . . . Chronic pain . . . Mental conditions like anxiety, depression, and PTSD . . ..”

Another issue that arises in advertising CBD and other hemp products is whether any of these products are being legally produced. An interpretative opinion from the USDA sets out under what circumstances the production of CBD products is currently legal in the US. This opinion sets out that the only legal hemp products being produced at this point are the limited products being produced for research purposes under the 2014 Farm Bill. As we wrote here, the government has previously stated that it did not seem to think that commercial production was authorized under the 2014 Bill, yet some growers operating under these pilot plans seem to be relatively big businesses. Otherwise, hemp products including CBD can only be grown pursuant to provisions of the 2018 Farm Act with a USDA license or one issued by a state or tribal nation under a plan approved by the USDA – and the USDA has not yet approved any such plans nor even adopted the framework under which they will evaluate such plans. According to the USDA website, the USDA intends to have regulations in effect by Fall 2019 to accommodate the 2020 planting season. If a state or tribal nation submits a plan before that time, USDA will not review or approve the plan until the regulations are implemented. Thus, there appears to be a very limited universe of hemp products that are currently legally produced and thus can be used for making hemp-derived CBD.

A letter from Senator Wyden of Oregon to the FDA and the USDA suggests an even shorter timeline for those USDA regulations – he indicates that USDA plans to act in August 2019. But, as indicated in the Wyden letter, action by the FDA to set out regulations for the use of CBD in food and drugs, and about the health claims that can be made for such products, appears to be much further away – perhaps 3 or 4 years away according to FDA statements cited in the Wyden letter. Wyden urges the FDA to act more quickly – a sentiment that many others involved in any way in the hemp industry no doubt echo.

So where does this leave media companies looking to accept advertising for CBD and other hemp products? Basically, as we have said before, proceed with caution. The USDA letter makes clear that “hemp has been removed from schedule I of the Controlled Substances Act and is no longer a controlled substance,” but then details that its legal production is currently very limited. So media companies want to look at whether they are advertising a legally-produced product, and need to be wary of the content of any ads to avoid the issues set out in the FDA warning letter (and the warnings we have previously written about). Clearly, it is a muddle, and until further clarification is released, broadcasters and other media companies need to proceed with caution and get counsel from their own attorneys as to what they can and cannot do.

cables.gl, music-friendly 3D browser visuals, now in free public beta

Delivered... Peter Kirn | Scene | Fri 26 Jul 2019 4:50 pm

Interactive visuals in the browser now make stunning eye candy live that used to require whole server farms to render. cables.gl – now in a free open beta – lets you harness that, without even knowing how to code.

cables.gl is a dataflow (visual patching) development environment that runs entirely in the browser – using the latest 3D capabilities of computer GPUs. That means it’s something you can mess with right from inside your browser of choice, and that you can deliver in the same environment – so, say, create an immersive music video someone can access from any computer.

HOLON – “Hold On.”

It’s also a great gateway drug or complement to desktop-oriented environments like TouchDesigner and vvvv. (Once you start thinking in this sort of flow, some ideas translate – and something like TouchDesigner is a better choice if you need to output to, say, a heavy-duty desktop or five for large-scale projections.)

I’ve written about cables.gl before, but you had to request an invite. They’ve now opened up to a public beta, so anyone can register. I’m sure some people in the CDM audience will do some amazing stuff with it. Just be sure to let us know when you do.

https://cables.gl/

Also, the cables.gl devs tell me they’ve finished up more videos showing how to work with music software. I’ve added those to our most recent story:

The visuals here, by the way, come from this gorgeous music video by Holon (and a nice tune, too):

If that’s punishing your browser GPU (or you’re on a mobile device), you can check it out as a video, as well:

If you want to see 2019 software discussed in a forum layout that’s straight out of the 90s, here’s that. (It’s only missing a blink tag.) More of their work:

https://holon.drastic.net/

Ready for more advanced stuff? Here you go – and yeah, you can code if you wanna:

Enjoy!

The post cables.gl, music-friendly 3D browser visuals, now in free public beta appeared first on CDM Create Digital Music.

Make music with mobile, MeeBlip, and one connection – here’s how (iOS, Android)

Delivered... Peter Kirn | Scene | Thu 25 Jul 2019 7:40 pm

It’s liberating – just take your phone or tablet, plug in a USB cable, and you can make music on this hardware synth anywhere. Here’s how to do that, with our MeeBlip geode, plus some tips on the best apps for both iOS and Android.

Inspiration is a funny thing, and somehow in the process of hunting around for interfaces and power sockets, you can wind up staring at a tangle of cables and no idea of what it was you were trying to do. So, I’m already finding it surprisingly empowering to be able to use the new USB port on the MeeBlip geode for both power and MIDI (sequencing notes and control). Every smartphone I’ve tested, plus the iPad, will gladly power the geode from the same connection.

Why not just use an app? Well, with the geode plugged in, you get some nice feeling knobs and switches, plus that grimy, dirty MeeBlip sound – and its screaming analog filter. To look at it the other way, all you need for different interfaces for playing this module, from step sequencers to touch keyboards, is your handy mobile gadget.

That also led me on a search for the best apps that support MIDI out. Not all do, Apple’s own GarageBand for iOS being notably incapable of the feat (unlike its Mac sibling). I also spoke with Ashley Elsdon, our resident mobile geek, for additional tips. So these apps will be working with lots of my other MIDI gear, too. And while I thought the Huawei Android handheld that I just got to replace my iPhone would leave me disappointed as far as music apps, I was glad to find some excellent Android-platform stuff, too. (For once, we don’t have to leave y’all out.)

First, here are a couple of jams on iOS, audio straight from the out jack of the MeeBlip. And these two I think count as my two favorite live performance tools for iOS (so far):

Mobile MeeBlip in action!

StepPolyArp may have been one of the first music apps I got for the iPad, actually. It’s an intuitive, deep combination of a piano roll editor for graphically drawing patterns, an arpeggiator, and a step sequencer. It syncs to Ableton Link, though I’ve also used plain MIDI clock. And yes, you can get grimy sounds out of geode, in case you didn’t know that.

https://dev.laurentcolson.com/steppolyarp.html

Arpeggionome Pro has a unique grid (influenced by the likes of the Tenori-On), and runs on both iPhone and iPad – it’s great handheld. Because of its particular approach to harmony and rhythm, it can lead you to some patterns you’d never play on a normal arpeggiator, let alone on a keyboard (unless you’re seriously some kind of pinball wizard). And yes, it also boasts Ableton Link support, so you can wireless sync up to another app or computer running lots of different software (not just Ableton Live).

It’s also on iOS, though ARPIO is an Android port from the original developer, and just lacks MIDI support – please, please!

More app ideas

On Android, there’s a powerful MIDI sequencer/arpeggiator toolkit that lets you build your own patterns:

https://play.google.com/store/apps/details?id=midi.midi.midi.looper.free&hl=en_US

Wildly enough, you can even use the Virtual ANS, a reimagining of a vintage Soviet synth, with MIDI output. The developer tells me he’s working on bringing that same MIDI output to his excellent tracker/production tool SunVox, where it makes more sense:

https://play.google.com/store/apps/details?id=nightradio.virtualans3

Various production tools on Android also do MIDI output, though perhaps the easiest to use would be Touch DAW, which simply acts as a general-purpose MIDI controller for everything – including a keyboard.

iOS is as usual richer with options. Ashley / Palm Sounds recommends considering MIDI plug-ins, too.

apeMatrix as host + AUv3 MIDI plug-ins

Rozeta sequencer suite from our friend Ruismaker (or if you want to get really fancy, try scripting your own MIDI with Mozaic)

And there’s Fugue Machine, also from Alexandernaut who built Arpeggionome above, which could be wild. I might have to try that with multiple MeeBlips, uh, fuguing. Stay tuned.

Or think of Modstep, a powerful sequencer with scene triggering

What do you need for the connection?

On many new Android devices, you can actually plug a cable directly between your phone (USB-C) and the MeeBlip (USB-B). Otherwise, you’ll need a USB OTG adapter. These run about ten bucks (ah, this obviously isn’t from Apple).

On iOS with only Lightning connections, you need an adapter. The best of these is Apple’s Lightning to USB3 Camera Connection Kit. It’s pricey, but it gives you both a USB-A and a separate Lightning breakout, so you can power your iPad or iPhone and connect USB at the same time, rather than drain the battery. It’s reliable enough to use live onstage, and it’s what you’ll see me using in these images.

Of course, on a computer with a standard USB connection, you don’t need any special adapters.

Regardless, you’re sure to be able to quickly connect your MeeBlip in the studio or at home, and you can even mess around with ideas on the go or busk at the park or picnic.

MeeBlip geode is shipping now. Grab one if you don’t have it already for US$149.95, direct from us.

https://meeblip.com/

The post Make music with mobile, MeeBlip, and one connection – here’s how (iOS, Android) appeared first on CDM Create Digital Music.

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