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Indian E-music – The right mix of Indian Vibes… » 2019 » November » 22

Third Circuit Denies Petition for Rehearing of Decision Overturning FCC Ownership Rule Changes

Delivered... David Oxenford | Scene | Fri 22 Nov 2019 6:05 pm

In a very short decision issued on Wednesday, the Third Circuit Court of Appeals rejected the FCC’s request for rehearing of the September decision of a panel of three of its judges which overturned the FCC’s 2017 decision changing many of the broadcast ownership rules (including the abolition of the newspaper-broadcast cross-ownership rules).  We wrote about the FCC’s request for a rehearing “en banc” by the full Third Circuit here, and about the three-judge panel’s decision overturning the FCC decision here.  Wednesday’s decision said little of substance, only stating that a majority of the Court had not voted for the rehearing request, and thus it was denied.  What is next for the FCC?

At this point, with the 2017 rules vacated by the Third Circuit, the FCC has two options.  It can appeal to the Supreme Court, though that Court accepts for consideration only a few cases each year.  The other option is that the FCC can try to adopt new rules by meeting the panel’s seemingly impossible mandate to find definitive historical data about minority ownership of broadcast stations that can be applied to determine the effect of any broadcast ownership changes on diversity of ownership.  Watch in the coming weeks to see which of these options the FCC decides to pursue.

More to the floor: the decade the dancefloor was decolonised

Delivered... Whitney Wei | Scene | Fri 22 Nov 2019 3:00 pm

Collectives like NON and Naafi helped to loosen the west’s stranglehold on club culture – and now the most exciting dance music is coming from east Asia, Africa and Latin America

In the first half of the 2010s, the western world dominated the conversation in electronic music. White, male producers and DJs, often based in London, New York or Los Angeles, mostly controlled the barriers to entry, and took music from foreign cultures without consequence. Diplo, cherry-picking from baile funk, dancehall and reggaeton and tailoring each rhythm to suit an English-speaking market, is the most high-profile example of this appropriation, but he is just one of many white producers in the post-internet decade who dabbled in different cultures with boyish insouciance they regarded drop-crotch trousers, curtained hair, or any other passing trend.

In the second half of the decade, however, multilateral club scenes from Latin America, Africa and east Asia have come to define the global underground, each pressing their native sounds towards the razor’s edge with confidence and technical prowess.

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Chemical Brothers review – a glorious, meaningless sensory overload

Delivered... Dave Simpson | Scene | Fri 22 Nov 2019 2:00 pm

First Direct Arena, Leeds
Against huge projections of robots, disco balls and angels, the band deliver a rousing set that even makes the players themselves punch the air

In the 90s electronic boom, when the Chemical Brothers, Leftfield, Orbital and the Prodigy formed the “big four” acts making dance music a live experience, occasional festival appearances were the only real opportunities they had to take their music to the masses. Most of their gigs saw audiences crammed into student halls and mid-sized venues. Today, as live music has exploded along with bigger, visuals-friendly venues and the band’s influence (this week they were nominated for three Grammy awards), the Chems have made the step into arenas, where they can showcase their electric dreams on the scale they’ve long imagined.

At first, the opening night of their first regional tour in 20 years feels like an old-school rave. Some people have exhumed their 90s bucket hats – once popularised by Stone Roses drummer Reni. Others in the balconies are constantly up and in the aisles all night, giving security staff a headache. Meanwhile, DJs play vintage dance tracks before the main act come on. LFO’s thumping sub-bass workout of the same name, once popularised in nearby Leeds Warehouse, gets rapturous cheers of recognition.

Related: Sign up for the Sleeve Notes email: music news, bold reviews and unexpected extras

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Hannah Diamond: Reflections review – trance-pop rescued from good taste

Delivered... Ben Beaumont-Thomas | Scene | Fri 22 Nov 2019 11:30 am

(PC Music)
On these melancholy bangers, the PC Music singer uses nursery rhyme-like melodies and a girlish sing-song delivery to essay the pain of being lovelorn and vulnerable

Here’s an affecting companion piece to Caroline Polachek’s recently acclaimed Pang: another breakup album with production handled by one of the PC Music collective, who rescue trance-pop sonics from the tyranny of good taste. Polachek’s record featured work by Danny L Harle, while Diamond’s is produced by AG Cook. Where Polachek is erudite and poetic, Diamond is prosaic; where Polachek’s vocals are astonishingly skilful, swooping into high registers, Diamond’s are unremarkably ordinary.

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Ubuntu Studio hits 19.10, gives you an ultra easy, config-free Linux for music and media

Delivered... Peter Kirn | Scene | Fri 22 Nov 2019 9:42 am

The volunteer-run Ubuntu Studio isn’t just a great Linux distribution for beginners wanting to make music, visuals, and media. It’s a solid alternative to Mac and Windows you can easily dual boot.

Ubuntu Studio for a while had gone semi-dormant for a while; open source projects need that volunteer support to thrive. But starting around 2018, it saw renewed interest. (Uh, maybe frustrations with certain mainstream OSes even helped.)

And that’s important for the Linux ecosystem at large. Ubuntu remains the OS distribution most targeted by mainstream developers and most focused on easy end user operation. That’s not to say it’s the best distro for you – part of the beauty of Linux is the endless choice it affords, rather than a one-size-fits-all approach. But because some package management focuses on Ubuntu (and Debian), because it’s the platform where a lot of the action is as far as consumer desktop OS features, and just because so many beginners are on the platform, it matters. Heck, you can usually get more novice-friendly advice just by Googling a problem and adding the word “Ubuntu” on the end.

But that’s all what you’d hope Ubuntu Studio would be. Let’s talk about what it is – because the latest distro release looks really terrific.

Ubuntu Studio 19.10 dropped last month. For those unOS familiar with Ubuntu – look closely at those numbers – that’s October 2019. Ubuntu alternates between long-term support (LTS) releases and more frequent releases with newer features. Crucially, the Ubuntu Studio team now add “backports” though so that you can use the newer packages on the LTS release – so you don’t have to constantly upgrade your OS just to get the latest features.

If you don’t mind doing the distro update, though, 19.10 has some really terrific features. I also have to say, as a musician the other appeal to me of Linux is, I can still use my main OS as the day-to-day OS, loaded down with lots of software and focusing on things like battery life, while maintaining a dual boot Linux OS both as a backup OS for live use and one I can optimize for low-latency performance. Now that Bitwig Studio, Renoise, VCV Rack, Pure Data, SuperCollider, and lots of other cool software to play live all run on Linux, that’s no small matter. (For visuals, think Blender, game engines, and custom code.)

New in this version:

OBS Studio is pre-configured right out of the box, for live streaming and screencasting.

There are tons of plug-ins ready-to use. 100 plug-ins were added to this release, on top of the ones already available. There are LADSPA, LV2, and VST plug-ins, and extensive support even for Window VSTs. For now, you even get 32-bit plug-in support, so using one of the LTS releases for backwards compatibility on a studio machine is a good idea.

Oh yeah, and while you should definitely move to 64-bit, plug-in developers – targeting Linux now makes sense, without question. And Ubuntu Studio would be a logical distro against which to test or even provide support.

RaySession now makes handling audio sessions for apps easier.

Ubuntu Studio Controls is improved. This won’t make sense to Linux newcomers, but especially for those of you who tried Ubuntu in the past and maybe even got frustrated – Ubuntu Studio has done a lot of work here. Ubuntu Studio Controls and the pre-configured OS now make things work sensibly out of the box, with powerful controls for tweaking things as you need. And yeah, this was indeed sometimes not the case in the past. The trick with Linux – ironically just as on Windows and sometimes even macOS – is that different applications have competing needs for what audio has to do. Ubuntu Studio does a good job of juggling the consumer audio needs with high-performance inter-app audio and multichannel audio we need for our music stuff.

Anyway, new in this build:

  • Now includes an indicator to show whether or not Jack is running
  • Added Jack backend selections: Firewire, ALSA, or Dummy (used for testing configurations)
  • Added multiple PulseAudio bridges
  • Added convenient buttons for starting other configuration tools

That’s just a quick look; you can read the release notes:

I’m installing 19.10 (rather than LTS and backports, though I might do that on an extra machine), as I’m in a little lull between touring. VCV Rack is part of my live rig, as is SuperCollider or Pd for more experimental gigs, so you can bet I’m interested here. I’ll be sure to share how this works and provide a beginner-friendly guide.

For more on how this works:

The post Ubuntu Studio hits 19.10, gives you an ultra easy, config-free Linux for music and media appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Fri 22 Nov 2019 12:00 am
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