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

FCC Extends Deadline for Regulatory Fees to September 27

Delivered... David Oxenford | Scene | Tue 24 Sep 2019 3:55 pm

Annual Regulatory fees were to be paid by today (see our articles here and here).  But yesterday, the FCC issued a Public Notice giving all those procrastinators in the communications industry a few extra days to pay their fees.  Those fees are now due on Friday, September 27.  It’s your last chance – don’t be late to pay those fees.

Gary Numan review – terrace chants for thrashing synthpop star

Delivered... Alexis Petridis | Scene | Tue 24 Sep 2019 1:23 pm

De La Warr Pavilion, Bexhill-on-Sea
The Numanoids are out in force for their idol, who throws in guitar and beefy rhythms for this 40th anniversary tour

Gary Numan’s latest UK tour comes under the banner of a 40th anniversary, although it doesn’t say of what. Perhaps it doesn’t need to. Everyone with even a passing interest knows 1979 was Numan’s annus mirabilis: two No 1 singles and two No 1 albums, and a sense that the future was here. Few things said “the 80s are coming” like Numan performing Cars on the telly, every musician prodding at a synthesiser, not a guitar in sight; his star briefly burned so bright that his idol, David Bowie, felt threatened enough to write a song slagging him off.

You definitely wouldn’t need to remind tonight’s audience, heavy on Numanoids, the diehards who sustained him through his subsequent lean years before he was hailed as an influence by everyone from Detroit’s techno pioneers to Marilyn Manson and Trent Renzor. Less inclined to dress up like their hero than they once were, they nevertheless have their own terrace chant, deployed before, after and occasionally during songs: “Nuuuuu-muh-un! Nuuuuu-muh-un!”

Related: Gary Numan: ‘Eye contact is something I find incredibly difficult’ | This much I know

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Review: 1010 Blackbox, sampling workstation hardware in a little square

Delivered... Andreas Roman | Scene | Mon 23 Sep 2019 4:46 pm

This cute little box promises to let you manipulate sound and play live with samples without a computer. Andreas Roman returns to CDM with another in-depth, hands-on hardware review.

This time, it’s the US$599 1010 Music Blackbox, a compact, boutique sampler and sample manipulation workstation. (See Andreas’ previous review of Elektron’s Model:Samples – with a similar take on how limitations can make for a focused device.)

Meet the Blackbox

I’ve mostly stayed away from modular, so I was unfamiliar with 1010 Music, a company that’s known largely for their Eurorack offerings. (The Blackbox is their first desktop offering.) Then I started seeing the 1010 Blackbox as early adopters posted their reviews.

So what is it? It’s a sampler. It’s neat and tidy, small enough to fit in your open palm. It’s got a focused set of features that can take you from nothing to a complete something that can even sound like it happened in a studio – if you work it right. It’s built like a brick. It’s got a navigation system so clever, you might feel sorry for whoever wrote the documentation because you won’t need to read the manual. And it runs on a portable battery.

Look and feel

On the surface, the Blackbox seems ordinary. A large touch screen dominates the center, like a window into its heart if you will. A set of buttons on the unit at the bottom allow you to flip through the sections. Four endless encoders surround the screen, used for navigation and parameter tweaks, and two push buttons help you flip between menus.

It looks a bit crude on first impression – as you turn it on, the brash and utilitarian design underlines this. But when you touch it, there’s a solid sense of quality to the materials. A minute or so with the interface, and it becomes clear that in this straight forward, no-nonsense approach is conscious design choice. The raw pixels and squared menus give it some retro-digital flair.

It’s neat, practical, and perfect for the purpose. Within the hour, I’d sampled, sliced, sequenced, processed, and built a song with external as well as on-board factory material. I even made a structure for composition and rendered it into a WAV file – all within the Blackbox, by my kitchen table.

Sample slots and editing

Starting from the left-hand side of the unit, let’s begin with assignable samples. You get sixteen of these, which can be anything from a one-shot to minutes-long audio sequences. (You could theoretically even go hours – the Blackbox streams from an SD card.) [Ed. Note that that’s very much what’s missing on hardware like the new Roland MC-101/707, which requires you to copy audio into internal memory, both adding steps the workflow and limiting sample length and storage. -PK]

Also, thanks to a smart mapping system connected to sliced-up samples, one slot can trigger multiple samples from the virtual keyboard or from external hardware.

Tapping the on-screen pads can trigger different behaviors. With a combination of sync options and settings, you can either let the sound fire as you strike, which is preferable for live drumming and FX, or you can have it sync to a section of the beat and trigger perfectly on cue – great for looping or longer, pre-recorded sections. Although sixteen slots for samples might not seem much, the flexibility makes this 4 by 4 grid quite potent. You could stay here for an entire set, mixing loops and complete backing track sections with mad live drumming skills, all in sync to internal or external clock.

From the sample section, you also access deeper editing functions such as an envelope per sound, a filter, start- and end-points for loops, time-stretch parameters, and so on. The shaping is more geared for sculpting your sample to work in a mix, and less about creative effects. The filter acts like an EQ that blends between states. The lower you go, the deeper the thuds and greater the cutoff. Aim high, and you’ll lose the rumbling deep ends and position your sample in the cleaner forefront. The amp envelope is used to trim what’s already there, so if your bass sound doesn’t snap on its own, don’t expect the decay, sustain, and release to fix that for you. Just watch your source material, and these tweaks will serve you well for their intended purpose.

One very impressive update is the granular option that 1010 threw in as I was writing this. With a neat combination of additional features for granular synthesis, you got access to parameters that had me tearing up drum loops like I was the coolest thing from Iceland since last winter. With just an extra screen for granular, you’d think that it’s too barren to serve the purpose.

But that’s the thing with the Blackbox – what’s on offer has been so carefully selected, the combinations of what you can achieve grow into something larger than you’d think at first glance.

Compact size means the Blackbox fits into your workflow and space – though over time, its deep capabilities may surprise you.


This emergent design is even more evident in the Sequencer section, which records your live drumming or clip launches from as many samples as you prefer. The Blackbox holds sixteen patterns per project, but those patterns can play all samples at once and polyphonically, too, as long as the CPU allows it. Patterns aren’t bound to a specific sound, but just to whatever performance you record into them.

Each pattern has its own time signature and number of steps, and has a refreshing maximum of 128 steps if you’re going for the traditional 4 / 4 thump. Split up the time signature and you can go plenty further, as long as your playing allows it – slow leads, evolving pads, meditative jazz chords.

There’s plenty of room for extended live takes here. To push it, I recorded a few 64-bar loops from my Tempest, set them all to sync and time stretch from within the Blackbox and launched them from just one pattern, at the lowest possible time signature to reduce cycling. Worked like a charm. Next, I tore up the (kitchen) floor with a 32 bar disco lead from a Rev2, and the crowd (my wife and kids) went wild. 

While the sequencer itself has a rudimentary system for editing notes, with only the bare minimum allowed for editing – mostly triggering and timing, really – the patterns themselves can be played in sequence or simultaneously, launched in sync or on the go. You can have all of them run at once, playing a selected number of samples, at different time signatures and number of steps. The kind of polyrhythms you could pull off with this approaches Sequentix Cirklon and Squarp Pyramid territory. When you realize that these sequences can run while you’re still playing the sample grid, we’re close to mind-melting possibilities.

And that’s even before getting to Song mode. Here, you can live-record the starts and stops of each pattern, creating a master version of your preferred combination of patterns as they go on and off while you’re jamming. Each part of the Song has its unique number of bars, so you can have one section that’s just two bars, another one that’s sixteen, then a third that’s eight, and you can string those together into a list that plays these in order, or launch them live as separate overarching sections of your performance. Doesn’t matter if you’re an improvised act or a structured studio musician. You can be as spontaneous or as meticulous as you want.

Effects and MIDI support

Before we get to live sampling/audio recording, the remaining features are also fairly basic but useful. Each sound can hold a combination of reverb and delay, with the dry/wet output set per slot. Both the delay and the reverb contain master settings for all channels and they provide enough parameters for you to move between small, tight rooms with slap delay bouncing around, to wide, open spaces and long tails of slow-moving echoes. They sound slightly better than good and in a mix, they’ll do just fine. What remains then is a mixer window where you got the basics covered such as output, panning and muting, no EQ but a subtle and neat on/off compressor further to the right, and then browsers and setup tools for sync, file management, midi channels, metronome tweaks, and the like.

MIDI support on the Blackbox was a bit lean at launch, but recent updates have corrected that. The hardware now sends and receives clock, responds well to external gear, and is easy enough to set up, with increasingly flexible routing delivered in each new firmware update. The sequencer both records and sends MIDI, so the Blackbox can sequence external gear as well as internal sounds. I took mine to the local dealer and hooked it up to their Yamaha CP88, and within minutes I had something going where I recorded my CP88-style Rhodes action as MIDI parts into the Black Box, then played back the section from the sequencer as I recorded it live from the Yamaha directly into the Black Box.

I used these recordings to try and talk my wife into realizing that our home needed a Yamaha CP88 and how great it would be for the kids, but I can’t blame the Blackbox for my failed attempts at diplomacy. Our living room remains void of a piano still (but the kitchen’s still disco, so don’t worry).

Yes, all minijacks, though adapters for MIDI are included in the box.
The full package, with everything you need – adapters, cable, memory card.

Yes, it’s a real sampler

Oh, yeah. Also, this thing samples. Plug in your audio source, adjust the gain and either go for manual sampling, threshold by audio or – and this one’s my favourite, an old combat wound from the Octatrack years – midi synced recording, with perfect start and end points. It writes directly to a micro SD card (included at purchase), and it stops when you or the memory card tells it to. So if you got massive space and you want to sample your hours long ambient session, just go ahead.

Really, all you other manufacturers of samplers out there. How is it that you don’t get that this is all we need? A basic set of timing options, real-time stereo recording straight to card like if it was tape, great converters and some flexibility on the start trigger. Look at how it’s done by 1010 Music, and take notice. Mono sampling only? I don’t think so. 64mb memory? Puh-leease. This is 2019 and the Blackbox knows it.

So sampling is a breeze no matter if you’re going for a one-shot snare or improvised epics. You can also use the Blackbox as a live looper if you set it up as such. There’s resampling, both by external hardwiring and internal recording. I routed a few loops through one of the box’s three stereo outs (yep, three – pretty neat, huh?), changed it to mono and sent its audio into a Sherman Filterbank 2.

After some mad mayhem filter tweaking, I had something that I liked and recorded it back into the Blackbox external input. Obviously, doing it like this makes monitoring tricky and until 1010 Music implements some kind of cueing (and they might never, you know, and we should be cool with that), you either accept the challenge or find a way to monitor the signal externally before you record it back. I used an Analog Heat for the purpose, which was overkill but stupid fun. And also, if all you want to do is resample what’s going on within the box, internal resampling was added as an update during the summer. As long as you got one slot free, you can render your entire performance down into one WAV file.


The Blackbox is not about its list of features. You could still think this instrument falls short if you compare it to beasts like from Elektron, Pioneer’s Toriaz SPS-16, or the Synthstrom Deluge, and the MPC family, of course. Maybe those kits or their alternatives is what you need.

But one of the main points with cleverly built hardware is the way it all comes together — how you interact with the instrument, how all these sets spark ideas as you go with the flow. And the Black Box has a flow that few others can match.

Sure, there are limits more obvious than others. There’s the sixteen slot system. You can get around this with slicing up your sample chains; it’s not really a complete workaround, but a neat way to get more out of the grid. Even so, sixteen is sixteen. This same limit applies to the sequencer patterns, and since the Blackbox so quickly helps you get results, it’s worth pointing out that you will hit a full stop at some point solely on the quantity of space available for your sounds and patterns. Seeing as it reads from the card, I’m not sure why this limitation is in place, other than the fact that each project becomes very defined. Which, however, follows the ethos of this instrument quite well. It’s very clear on what it is and what it’s not.

Also, I haven’t mentioned modulation, have I? That’s because there is none. You can affect a few parameters from external gear, but there are no LFO’s and no automation recording, including what comes from MIDI. Remember the above example, my in-store sessions with the Yamaha CP88? It recorded my playing but none of my interactions with the sustain pedal.

And even though the onboard delay and reverb are both solid, some of you will want for at least an extra parameter or two, to bring the effects to stranger places. Or maybe you’ll wish for more effects options – a chorus, perhaps an EQ, a tint of overdrive. I don’t miss it, but you might. But again, back to the clarity of this thing, because if you’re going to include just one or two effects, you’d certainly do right to go for a reverb and a delay.

Had I reviewed the Blackbox in June, I also would’ve said that the MIDI implementation left me wanting. But that’s no longer the case. Each update has improved the MIDI features considerably, and if you look at the latest addition with the granular options introduced, it’s clear that 1010 Music is devoted to the development of the Blackbox.

If you acquire the Blackbox today, and embrace what’s there, you get a fully developed, well designed, and amazingly inspiring instrument on which you can write great music. If you got another idea of what such a platform could be, that’s fine. But it’s been awhile since I had such a sparkling piece of kit around, and chances are, you’ll agree once you’ve tried it yourself.

Product page: 1010 Blackbox

A sample jam

We enjoyed Andreas’ music last time – here’s a real-world example jam among various he made while working with this.

He explains:

It really pushes the Blackbox. 14 of 16 sample slots are used. The sequencer launches loops and triggers one-shots, some of them just brief 8 step tracks and some close to 64 bars long, running in parallel. On top of that, it’s all strung together with the song mode, and no external processing has been used. The headroom in this thing is pretty impressive.

Also, anyone else who has lived as I have in the metro NYC area, I presume you also can’t stop hearing the signature 1010 WINS radio ID? (Ah, nothing says “good morning” quite like hearing a major seventh of xylophones and … trumpets. I literally had this on my alarm clock for a while — jarring.)

The post Review: 1010 Blackbox, sampling workstation hardware in a little square appeared first on CDM Create Digital Music.

$15,000 Fine and Short-Term License Renewal Proposed for Radio Station Missing Issues Programs Lists in Its Online Public Inspection File

Delivered... David Oxenford | Scene | Mon 23 Sep 2019 2:32 pm

On Friday, the FCC’s Audio Division released its first decision in the current renewal cycle addressing the issue of incomplete public inspection files and missing Quarterly Issues Programs List, proposing to fine an AM station in Virginia $15,000 for apparently not having any Issues Programs Lists in its online public inspection file for the entire renewal term.  The decision, found here, should serve as a warning to broadcasters to make sure that their online files are complete and up to date.

The facts of this case, summarized below, seem particularly egregious as the station had the same issue of missing issues programs lists when its last renewal was filed 8 years ago.  Nevertheless, we can expect that this won’t be the last fine we will see for stations that have incomplete public files.  The FCC has been sending out warnings about incomplete online files for the last year, and we’ve been warning (see, for instance, here and here) that, with all public inspection files now being available online, the FCC will likely be issuing fines during this renewal cycle if documents are missing from the file.  The Quarterly Issues Programs lists are seen by the FCC as being particularly important as they are the only official documents demonstrating the public interest programming that was actually broadcast by a station (see our article here). 

In this case, the station is owned by a 92-year-old man, who was stated to have run the station almost entirely on his own.  He was not computer literate and thus did not know how to upload materials to the online public file.  It was also claimed that he did not remember if he had prepared Quarterly Issues Programs Lists during the renewal term.  The FCC said that his age was no excuse, and the violation was more serious as he had admitted to not having prepared Quarterly Issues Programs lists during the station’s last renewal as well as during the current license period.  Thus, the Commission’s staff was recommending a $15,000 fine and a short-term renewal for only two years, rather than the normal 8 years.

The FCC has given notice – so if your renewal has not yet been filed, take the time now to ensure that your public file is complete to avoid the costly fines that could come your way if documents are missing.

Emmys 2019 Winners – SocialNews.XYZ

Delivered... | Scene | Sun 22 Sep 2019 8:00 am
Emmys 2019 Winners  SocialNews.XYZ

Video premiere: Caustic alien dreams and handmade electronics from Balfa

Delivered... Peter Kirn | Scene | Fri 20 Sep 2019 6:13 pm

Balfa sucks us into dystopian reveries, as we premiere a new video – and see some of the home-built instruments making such wonderfully acerbic sounds.

First, let’s set the mood with the video, which pairs music artist Balfa with artist/animator Maria Mendes of Portugal. Whatever is rendering in that skin, that’s more or less how my body feels if I give it over to these sounds.

It’s for the track, from this month’s debut LP Perfecta Analogía De La Decadencia. (I bet you got the translation of that one. Full track-by-track album description with extended commentary is on his site.)

Balfa is a Spanish artist who has crafted his debut LP, he says, as an autobiographical journey through Berlin over his four year stay here. (It’s true – those screams of agony you hear, that’s exactly the sound my soul makes when I’m stuck just before closing on a Saturday night in the produce section of the Wrangelstrasse Lidl. But I digress.)

What you get is the raw, exposed crackle and growl of electronics, giving way to abstract broken beats and fragmented landscapes. And then, unexpectedly, he’ll break into a furious, hyperactive groove, in between caves of ambient sound. Those occasional repetitions now qualify things to be called “techno,” but frankly – I’m totally okay with the ongoing dissolution of the term, if it means more experimentation.

The album has the unedited directness of late-night studio psychosis, but it’s always engaging and inventive. The full stream is on HATE; there’s a vinyl LP that then spills over on digital with a couple extra tracks, out earlier this month. Delilirium Candidum of Mexico made the artwork, in a sort of naive-folk cyberpunk style:

And the sounds are unpredictable and show this love for electricity in part because of Balfa’s extensive DIY work. Balfa has been building his own instruments, with a decidedly punk approach (as we like around these here parts at CDM).

Most interesting is this “Yafurula Generator, Revelwaver & Clock” – Atari Punk Console inspired, it seems, mayhem with timers or something like this (I’ll ask for more details, but maybe meanwhile it’s fun to guess):

There’s also this PlayStation-controlled synth:

His live performance – as recently at Eufonic festival – is all about handmade devices and improvisation. On the album, it’s nice hearing those untethered textures mixed with song structures and sounds – a compelling split.

I also quite like this little reveal they did for the cover artwork by Delilirium Candidum:

If this goes anywhere, you can say again you heard it here first – this is BLF001. Now that he’s back in Spain, Balfa promises “BLF Lab” will be an outlet for more of this sort of endeavor:

Balfa establishes his BLF Lab project not only as a space for creative experimentation through craft practices, but also as a base for making music with handcrafted machines and various materials.

We’ll be looking forward to what transpires, Balfa.


More pictures of his DIY work:

Photo: Maria Louceiro.

Photo: Maria Louceiro.

Photo: Marta Rubio.
Photo: Marta Rubio.

The post Video premiere: Caustic alien dreams and handmade electronics from Balfa appeared first on CDM Create Digital Music.

Reminder – FCC Political Rules Apply to Off-Year Elections for State and Local Offices

Delivered... David Oxenford | Scene | Fri 20 Sep 2019 5:15 pm

While next year’s federal elections are already receiving most of the publicity, I’ve been getting a surprising number of calls about elections this November. While most broadcast stations don’t think about the FCC’s political broadcasting rules in odd numbered years, they should – particularly in connection with state and local political offices.  There are elections for governor in November in Kentucky, Louisiana and Mississippi, and all sorts of state and local elections in different parts of the country. As we have written before, most of the political rules apply to these state and local electoral races so broadcasters need to be paying attention.

Whether the race is for governor or much more locally focused, like elections for state legislatures, school boards or town councils, stations need to be prepared. Candidates for state and local elections are entitled to virtually all of the political broadcasting rights of Federal candidates – with one exception, the right of reasonable access which is reserved solely for Federal candidates. That means that only Federal candidates have the right to demand access to all classes and dayparts of advertising time that a broadcast station has to sell. As we wrote in our summary of reasonable access, here, that does not mean that Federal candidates can demand as much time as they want, only that stations must sell them a reasonable amount of advertising during the various classes of advertising time sold on the station. For state and local candidates, on the other hand, stations don’t need to sell the candidates any advertising time at all. But, if they do, the other political rules apply

That means that if a broadcast station decides to sell advertising time to one candidate in a state or local political race, they must sell it to all candidates for the same race – and be prepared to make available equal amounts of time in equivalent time periods. Stations can decide to make available advertising only in certain dayparts (or on certain stations in a cluster) for state and local races. They can even make different dayparts (or stations) available for different political races, as long as all candidates for the same race are treated the same. So, for instance, a station could decide to offer only spots during weekend and overnight time periods to candidates for the city council, while offering candidates for governor time during all dayparts. A station just needs to treat all legally qualified candidates (including independent and fringe party candidates) for the same state or local race in the same way.

If the time is sold to state and local candidates during the 60 days before the November general election, the time must be sold to the candidate at lowest unit rates. See our summaries of the rules relating to equal time here, and to lowest unit charges here. Similarly, if a station on-air personality decides to run for state or local office (anything from the school board or local planning commission to governor or state legislature), the station needs to consider whether to take that personality off the air, or risk having to provide equal time to all competing applicants – for free – in amounts equivalent to the amount of time that the employee-candidate appeared on the air, even if the employee never mentions his or her candidacy at all. See our articles about this topic here and here.

For more about the political rules, see our Broadcaster’s Guide to Political Broadcasting here. Don’t forget about these political advertising rules – even though this is an odd numbered year!

Nucleya elated over The Remix’s nomination in International Emmy Awards 2019; says ‘It is a very proud moment’ – Times Now

Delivered... | Scene | Fri 20 Sep 2019 2:51 pm
Nucleya elated over The Remix's nomination in International Emmy Awards 2019; says 'It is a very proud moment'  Times Now

Indian EDM artist Udyan Sagar, who is popularly known as Nucleya is elated as his show The Remix has received the nomination for The International Emmy ...

LiveCore is a free low-level, live patching for Reaktor

Delivered... Peter Kirn | Scene | Fri 20 Sep 2019 1:31 pm

Reaktor lovers no longer have to be jealous of live coders – now they get a performance-ready, free, low-level tool of their own. Sonic mayhem awaits you.

Okay, first – “live coding” doesn’t necessarily have to mean typing. Text is just one way to represent software logic, that is – and tools like Reaktor (and Pd, and Max, and TouchDesigner) simply use a “dataflow” visual representation for that same logic.

Reaktor Blocks now gives you a high-level, Eurorack hardware-style way to patch. But there hasn’t been anything that can exploit the low-level, high power DSP capabilities of Reaktor in real-time.

Enter LiveCore. The goal: “inreasing liveness” when you work with Reaktor, so you can actually patch live. It’s the work of co-creators David Alexander (@freeeco) and Jack Armitage (@jarmitage), and it’s all free and open source on GitHub (provided you have a Reaktor license, of course). And it’s capable of some seriously awesome musical madness:

You actually don’t need to know that much about Core, Reaktor’s low-level DSP objects, to use LiveCore. It effectively makes Core more powerful for existing users, and gives an entry point to people who may have avoided it.

LiveCore gives you a set of modules, each insanely optimized (just a few bytes compiled, and efficient on your machine’s processor). In the first release you’ll find the following – and the developers say more are on the way:

  • Phase Driver
  • Sequencer (quantizes phase Driver Output to make patterns)
  • Splitter
  • Gate
  • Mixer
  • Limiter (not like a traditional audio studio limiter – it’s actually more like a simple two-stage envelope)
  • Waveshaper
  • Reader (intended for sample playback, from a table)

And, like, holy s*** this idea is cool. Everything is built around the Phase Driver – you make one-shot triggers or ramps with that, and then do all your signal mangling and such with the other modules to create interesting patterns for sounds.

It’s also refreshing to have a modular environment that isn’t tied up in a whole bunch of idiosyncratic hardware modules. If you look at the display, it’s very nerdy in appearance, sure. But the actual use of this is so simple that it seems open to exploration, even for people who don’t normally think about patterns in terms of signal flow.

And this looks like a really unique way to approach patterns. That Waveshaper, for instance, can be used to create irregularities and interest in patterns. (There’s also nothing stopping you from routing this to a patch built in Reaktor Blocks, if you really want to.)

This project is brand new, so please don’t immediately bug the developers with too many questions. Documentation is mostly still forthcoming, so you’re pretty much on your own. It seems like they’re progressing quickly, though, and I think you’ll agree – this was too cool not to immediately share.


The post LiveCore is a free low-level, live patching for Reaktor appeared first on CDM Create Digital Music.

DJ Nucleya proud of his International Emmy nominated show – Zee News

Delivered... | Scene | Fri 20 Sep 2019 12:56 pm
DJ Nucleya proud of his International Emmy nominated show  Zee News

New Delhi: Indian electronic music producer-DJ Udyan Sagar, popular as Nucleya, is proud to be a part of the show "The Remix" that has received a nomination ...

DJ Nucleya proud of his International Emmy nominated show – Outlook India

Delivered... | Scene | Fri 20 Sep 2019 11:07 am
DJ Nucleya proud of his International Emmy nominated show  Outlook India

DJ Nucleya proud of his International Emmy nominated show – RadioandMusic.com

Delivered... | Scene | Fri 20 Sep 2019 11:02 am
DJ Nucleya proud of his International Emmy nominated show  RadioandMusic.com

MUMBAI: Indian electronic music producer-DJ Udyan Sagar, popular as Nucleya, is proud to be a part of the show, The Remix that has received a nomination for ...

DJ Nucleya proud of his International Emmy nominated show – Free Press Journal

Delivered... | Scene | Fri 20 Sep 2019 8:00 am
DJ Nucleya proud of his International Emmy nominated show  Free Press Journal

Novation Launchkey Mini MK3 is yet another tiny keyboard – so how does it stack up?

Delivered... Peter Kirn | Scene | Thu 19 Sep 2019 8:49 pm

Mobile keyboards continue to be fruitful and multiply. But Novation’s latest includes standalone mode, so it isn’t just a computer accessory – so let’s see how this category looks now.

Novation is the company that brought you the workhorse Launchpad grid, so anyone wanting a keyboard with colored grids on it would do well to take notice. But the MK3 adds some features its predecessors lacked – starting with the ability to work with gear minus the computer. New on the MK3:

  • Standalone mode and MIDI. There’s just a 3.5mm MIDI out jack, but combined with functionality that works without a host, you can now use this little keyboard with gear and not just a computer.
  • Fixed chord mode. Even for those of us with keyboard chops, this is useful on a small keyboard or in dance music contexts. New on the MK3.
  • Arpeggiator. New on the MK3, and puts the Novation in contention with offerings labeled Akai and Arturia.
  • Pitch/mod wheel. MK3 adds these as touch strips; the Launchkey 25/49/61 have pitch and mod, but it’s new on the Mini line.
  • RGB backlight. Yes, yes, more disco lights – but this also shows more information, matching colors to clips you’re launching and indicating status. Also new on MK3.

There’s also a Capture MIDI button, which lets you grab ideas even if you haven’t hit record. That’s now in Ableton Live, too, but it’s great that with the keyboard, this works everywhere.

And existing standard features from the Launchkey mini are here too:

  • Scene/clip launch (for Ableton and Novation software – this is a Launchpad).
  • Velocity sensitive keys and pads. Also standard on the Launchkey line. Velocity is actually missing on the Launchpad mini, meaning if you want triggering and velocity, this is a better bet.
  • Bus power.

There’s additionally now a bunch of bundled stuff from AAS, Softube, Spitfire Audio, XLN Audio and Klevgrand, and Novation now does a free membership. No, that isn’t some elaborate “cloud/subscription” feature – they just send you stuff from partners “every couple of months,” which may be more what you want, anyway.


This does make the Novation offering competitive, no doubt – not least because of Novation’s uniquely close relationship to Ableton Live, but likely just as useful with other DAWs (via Mackie HUI, which works with just about anything).

Here’s a hands-on review by loopop:

This also to me gives it a major edge over, say, Native Instruments’ keyboards, which work only when connected to a computer. That makes their Komplete Kontrol line desirable if you’re mainly interested in plug-in integration, but fairly useless if you want it to do double-duty with gear and not have to boot your laptop.

And that’s true of many other keyboards, too. Akai’s APC and MPK mini keyboards have some nice features and low prices, but they only work with a computer. (The MPK mini now has standalone sounds, but no MIDI out apart from USB.) And now Novation has added one of the features I like best on the MPK – the arpeggiator.

So this is really down to Arturia and Novation if you want something you can use on its own with your gear, as well as with a computer.

Arturia’s Keystep has a step sequencer and more dedicated arpeggiator functionality and controls. It lacks the pads and their accompanying trigger/DAW features.

So Novation gives you a still-usable arpeggiator but additional pad and trigger features.


The post Novation Launchkey Mini MK3 is yet another tiny keyboard – so how does it stack up? appeared first on CDM Create Digital Music.

Comment Dates Set on FCC Rulemaking to Review LPFM Rules and FM/TV Channel 6 Issues

Delivered... David Oxenford | Scene | Thu 19 Sep 2019 3:53 pm

The FCC’s Notice of Proposed Rulemaking on LPFM and Channel 6 TV issues, which we wrote about here, was published in the Federal Register today. This sets the deadline for comments in this proceeding as October 21, 2019, with reply comments due by November 4. This proceeding looks at issues including whether to remove all restrictions on LPFM stations’ use of directional antennas as well as whether such stations can use on-channel boosters to fill in gaps in their service areas. The rulemaking will also seek to resolve whether limitations should be lifted on locating FM educational stations near to TV channel 6 stations when the FM station is operating in the reserved band at the low end of the FM dial. The protections of these channel 6 TV stations from reserved-band FMs are based on the performance of analog TV receivers – which have not been a real concern for almost a decade since the TV digital transition. The rulemaking also seeks comments on whether LPTV stations operating on channel 6 can continue, after their digital conversion, to broadcast an analog audio signal capable of being received on most FM receivers (allowing these stations, sometimes referred to as “Franken FMs,” to operate as FM stations). If you are interested in any of these topics, be prepared to submit your comments to the FCC by October 21.

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