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Indian E-music – The right mix of Indian Vibes… » 2019 » November » 11


Delivered... Spacelab - Independent Music and Media | Scene | Mon 11 Nov 2019 8:45 pm
The spring get down in SoCal just got real.

FCC To Consider All-Digital AM at its November Meeting – What Questions are Being Asked?

Delivered... David Oxenford | Scene | Mon 11 Nov 2019 5:20 pm

As we noted in our list of November Regulatory dates for broadcasters, at its November 22 meeting, the FCC will be considering the adoption of a Notice of Proposed Rulemaking (see the draft order here) allowing AM stations to go all digital – on a voluntary basis. This Notice follows a Petition for Rulemaking which I filed on behalf of my client Bryan Broadcasting (see our articles here and here). The FCC’s NPRM, if adopted in the form of the draft Notice, suggests that the Commission, subject to a review of comments, is inclined to adopt the proposal to allow AM stations to voluntarily convert to an all-digital operation. While that is the tentative conclusion of the FCC, it does pose numerous questions on which it seeks comments.

The FCC’s questions include inquiries on the technical, programming, and operational aspects of the conversion of an AM station to digital. But the FCC recognizes some of the potential benefits of the all-digital operation and identifies some of the likely early adaptors of any such technology. These early adopters would likely include AM stations that have an FM translator that can continue to provide programming to the public even if some of the public does not have a radio with AM digital reception capabilities. We note that some AM operators with FM translators have already suggested the possibility of surrendering their AM signal, a proposal that has thus far been rejected by the FCC (see our articles here and here). The prospect of an all-digital AM operation would allow these stations to rely on their FM translator for current analog coverage of their markets, while trying to provide a more robust AM signal in the long-term rather than simply abandoning the service altogether. In addition, music stations are much more likely to be interested in an all-digital operation with the promise of higher fidelity than possible through an analog operation. But the FCC asks numerous other questions.

Some of the technical issues include whether the all-digital AM operation will in fact provide a better listening experience, will its signal be listenable for greater distances than the analog AM signal, will signal interference from bridges and power lines degrade the digital listening experience, and will the directional patterns of some stations reduce the benefits of the service?  Other very specific technical issues about the standard are also raised in the draft Notice. Perhaps most importantly, as some commenters on the original petition for rulemaking expressed concerns, the FCC asks whether an all-digital operation will post a greater potential for interference to co-channel stations. The FCC tentatively concludes that interference to adjacent channel stations is unlikely to be a problem as the all-digital AM signal uses less of the assigned channel than current hybrid analog/digital operations.

The FCC also asks about other benefits that would be derived from an all-digital operation. Would artist and song information be displayable to listeners? Would AM stations have the potential to provide more data services? Would an all-digital operation allow for multicasting on AM as it does on FM? Could digital boosters be used to fill in gaps in the AM signal?

The FCC also asks about the costs. It suggests that the owner of the digital technology asks for a $10,000 licensing fee for current operations. Would that fee apply as well to an all-digital operation? The one AM station already operating on an experimental basis in all-digital mode – Hubbard Radio station WMFD(AM) in Frederick, Maryland – indicated that certain other equipment needed to be changed to allow for an all-digital operation. The draft Notice asks what these costs would include – and would these costs be faced by all converting stations?

The regulatory steps toward conversion were also the subject of a question. Currently, for an AM station to begin operating in the current hybrid mode where both analog and digital signals are being broadcast, only a simple notice to the FCC is required. The Commission asks if notice will be sufficient in this case as well – and can stations switch back to analog by notice if they determine that the digital operations are not successful?

If the FCC adopts this draft NPRM at its November 22 meeting, comments and reply comments will be due 60 days and 90 days, respectively, after the NPRM is published in the Federal Register. Watch for the discussion of this item at next week’s FCC meeting.

HUMAN EXTINCTION PARTY is all the AI-generated gore and death metal you can stream

Delivered... Peter Kirn | Scene | Mon 11 Nov 2019 4:48 pm

If we’ve learned one thing about artificial intelligence, machine learning, and music generation, it’s that AI makes some damned fine death metal.

I mean, sure, part of why machine learning doesn’t really replace humans in its present form is this very phenomenon you’re hearing. If you put audio content of pre-existing music into a blender and then mathematically spew bits of it out, you’re losing all the nuance of form and compositional intent that make a lot of music genres work in the first place.

But back up – what was that bit about spewing things out of a blender?

If that part sounded like a feature, not a bug, then you sound like just the sort of person who will love AI-generated death metal. I am that sort of person, despite being about nuance and form and compositional intent, uh, most of the time. (At least I normally pretend.) And I’ve written about this before.

But now, it’s worth mentioning because HUMAN EXTINCTION PARTY 😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖 is amazing.

It’s a livestream of this stuff, just when the creators, Dadabots, have taken down a lot of their other streams. I realize this came out on the 25th of October, ostensibly for Halloween, which now is of course past. But I would implore Databots to keep this up, and the AI-generated text playing karaoke-style over images of meat, on through Christmas. (Honestly, this makes me feel a lot less murderous than hearing “Last Christmas.” If I seem to be getting stabby and Wham! is on, play this to calm me down and watch the butcher knife slide from my placid fingers.)

And yes, you should read their research paper:

Generating Albums with SampleRNN to Imitate Metal, Rock, and Punk Bands

More on SampleRNN:


I still think this will not really turn into a generative model for music, but could turn into a far more interesting way of processing your own samples than only looping them, by generating larger-scale textures out of existing material. If I’m wrong, you can flay my skin and … okay, now I’ve been listening to too much of this stream.

I’m in the midst of our AI Music Lab with MUTEK.jp, so more on this topic – and not just skin deep – soon.

Go go Databots:


And yes, if you really want to have an argument about authorship and this stuff, you should probably go talk to your MPC, too.

Also, Hatebeak forever. (And yeah, CDM has been going for 15 years – and if you got the Hatebeak reference, probably you’ve been reading roughly that long.)

The post HUMAN EXTINCTION PARTY is all the AI-generated gore and death metal you can stream appeared first on CDM Create Digital Music.

Behringer 303 clones revealed: $199 street

Delivered... Peter Kirn | Scene | Mon 11 Nov 2019 4:31 pm

Behringer’s analog remake of the 303 is now out in the open – a $199 set of red, blue, and silver synths called the TD-3.

On one hand, this might be the least exceptional of the low-cost Behringer synths, in that there are a lot of 303 remakes around already. There are boutique models, things called “Boutique” from Roland, the open-source hardware x0xb0x and its ilk (which even served as a template to open source music hardware generally), and plug-ins and software emulations galore.

On the other hand, the same thing makes the TD-3 newsworthy. It’s a synth everyone knows, and it’s now US$199 street. Get ready for a lot more acid — that’s for sure.

So what did Behringer actually do?

The TD-3 roughly approximates the TB-303 layout, without being slavish. And Behringer says they’ve recreated the essential analog circuits, down to the matched transistors.

It’s easier, then, to describe what’s new – apart from seeing a Behringer logo instead of a Roland one.

There’s a distortion circuit, which Behringer says is modeled on the DS-1. That presumably means a BOSS DS-1. And that’s actually the ballsy move here; Behringer has tangled with Roland before over BOSS.

The sequencer functionality borrows the 303’s interactions, but there’s more here – an arpeggiator, 250 user patterns x 7 tracks, and an intriguing ppq (parts per quarter) setting.

There’s also more I/O, bringing this more in line with a hacked/modded 303 than the original. You get USB, MIDI, and filter in / sync in / CV out / gate out, in addition to the original’s basic sync features.

Behringer are offering this in three colors, which otherwise are functionally identical – so TD-3-BU, RD, and SR are blue, red, and silver, respectively.

It’s really the price that’s the big deal, at US$199. That mainly hurts the Roland TB-03, which has a street of nearly twice that. Now, I don’t much expect anyone to dump the TB-03 – it sounds great whether it’s analog or not, it’s got a delay/reverb this lacks, and it runs on batteries. For that matter, I don’t know that people will dump any of their existing 303 emulations.

But for someone picking up the 303 who doesn’t have one, it’s going to be tough to compete with Behringer.

On the other hand, Behringer now joins a lot of low-cost, cool synths. Synthtopia compares the TD-3 with the KORG volca NuBass. I don’t know if that comparison came from Behringer, but the KORG seems like a totally different animal – different sound, different features, different workflow, and you know, a volca.


My question is – who’s going to use some strange bass sound to invent a new musical genre? It feels like we’re due.

I know, I know – “Karplus-Strong Techno” is really not a thing like acid house.

Okay – can someone make that a thing?

The post Behringer 303 clones revealed: $199 street appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Mon 11 Nov 2019 3:00 pm
The event happened over the weekend and closed by announcing it's dates for next year, with a new weekend.
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