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Indian E-music – The right mix of Indian Vibes… » 2019 » July » 25


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.

Heavy Vibes: A Conversation About DJing With Rising Dutch Selector mad miran

Delivered... Derek Opperman | Scene | Thu 25 Jul 2019 4:32 pm

The post Heavy Vibes: A Conversation About DJing With Rising Dutch Selector mad miran appeared first on Telekom Electronic Beats.

Rules Requiring FCC Reporting of False EAS Alerts and Allowing Live Event Code Tests Become Effective

Delivered... David Oxenford | Scene | Thu 25 Jul 2019 4:09 pm

Last year, as we wrote here, the FCC adopted a number of new rules regarding its emergency communications practices using the EAS system. At that time, soon after all the attention that had been given to the EAS alerts about the false Hawaii missile attack, the FCC adopted rules requiring stations to report to the FCC if they participated in an EAS alert about a fake emergency. Also, the FCC authorized EAS officials to conduct EAS tests using the real event codes for particular emergencies, but only after taking precautions to warn EAS-participating stations and the public that these tests were only tests, and not real emergencies. The effective dates of those new rules were put on hold pending review of the Office of Management and Budget under the Paperwork Reduction Act. According to a Federal Register publication this week, they have now been approved, and thus these rules are now in effect.

The FCC also approved a requirement for state emergency coordinators to file with the FCC in a new electronic database all Statewide EAS plans and any updates to those plans. The OMB also approved the data collection requirements of that rule but the rule will not become effective until one year after the FCC announces that it has created the electronic database to receive these updated plans. We recently noted that the FCC last month published links to statewide plans, and we urged state coordinating committees and participating broadcasters to review these plans to make sure that they have not become out of date with the passage of time. Given the upcoming new filing obligations, it would appear that this review is even more important.

These changes come in the shadow of the upcoming Nationwide EAS Test, scheduled for August 7 (see our article here). Stations should check their EAS systems to make sure that they are working and monitoring the correct stations, and be prepared to file their ETRS Form 2 the day of the test to report whether or not the test was received and retransmitted by their stations. The FCC is serious about EAS issues, so broadcasters should be sure to be in full compliance with all of their EAS obligations.

Anglo-Indian musician Sarathy Korwar: ‘There’s no singular brown voice’

Delivered... Ammar Kalia | Scene | Thu 25 Jul 2019 3:34 pm

With his second studio album – a ‘modern brown record’ – the producer is challenging perceptions of Indo-jazz. But in the face of racism and tokenism, it can be exhausting

Sarathy Korwar likes to define himself as an “outsider”. Outside popular music, outside the British Asian experience, outside Indian culture. The percussionist and producer blends Indian classical orchestration with free-jazz improvisation and, now, hip-hop.

“I went from being in a position of privilege in India, growing up middle-class and upper-caste, to moving to London a decade ago and seeing myself as a minority for the first time,” he says in his recording studio in Kilburn – a soundproofed shed formerly owned by the folk guitarist Bert Jansch.

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