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


The best music of 2019: as genre erodes, new gems emerge

Delivered... David Abravanel | Scene | Tue 31 Dec 2019 5:43 pm

Sure, years are arbitrary markers. But the annual ritual of listening to selections from guest music aficionado David Abravanel makes it worthwhile.

And this is a perfect producers’ list – music that dissolves genres, bears up to repeated deep listening, and suggests still more possibilities could lie ahead. Here’s David with his latest selections to round out a year in digital music. -Ed.

The 2010s went out with a bang, musically. If the silver lining to turbulent times is interesting art, then we’ve been spoiled during this anxiety-ridden, transitional year. I can’t remember the last time it was this difficult to narrow down my top albums to only 52 choices (arbitrary number!), and still left myself with legitimately great albums that didn’t quite make the final tally. 

As per usual, these are in alphabetical order, though if pressed, I would say my favorite album of the year was Synkro’s Images, favorite EP was Alis’s Papercuts, favorite track was Floorplan’s “So Glad”, and favorite reissue/compilation was The Residents’ Eskimo (pREServed Edition).

Synkro – Images.
Alis – Papercuts.

We’re Floating

I heard more than a few people ask exactly what “ambient” now means as of 2019. There’s no question that the popularity of ambient music resulted in some more reserved and beautiful releases. I spent loads of time exploring the crevices of electronic sound with 0N4B (another excellent release on the Kaer’Uiks label), spacing out with Richard Norris’ Abstractions series (inaugurating his Group Mind label), going to space with Yehezkel Raz’s minimal 9 Moons, and exploring the political economy of “relaxing” music with the reissue of Ami Shavit’s heart-tugging Yom Kippur 1973. And then Fennesz returned with Agora, astonishingly his finest hour yet.

The sparseness of ambient music spread to a number of musicians more well known for techno. Peter has previously covered Barker’s incredible Utility; anonymous label-mate Pom Pom also took a more ambient techno dip with the appropriately-titled Untitled 2. Meanwhile, TM-404 & Echologist quietly updated the sparse template of dub techno with Telomic Ghosts, and Deadbeat provided a master class in dub techno atmospheres with the welcome compilation of his Echocord releases.

The blurring of jungle breaks into house and techno productions (along with great proper jungle) remains an ongoing story. Lapalux, Chrissy, Stenny, and Konx-Om-Pax all released stellar full-lengths which saw the spirit of early jungle and rave merged with everything from R&B songwriting to disco to cavernous techno.

Inimitable Voices

With the proliferation of digital music and the near-complete erosion of clear genre markers, there are more artists than ever who are hard to exactly pin down. 2019 was full of such unique voices: Coppé explored grief and classic opera with her “Martian” electronic style on Na Na Me Na Opera, Tralala Blip made the best dance-pop I’ve heard in a while and straddled the line between agonizingly heartfelt and playful, Andrew Pekler took me to a false memory of exotica parties from decades before I was born, and Elon Katz defied convention between electro, techno, and experimental styles with Pneumania on San Francisco’s underrated Left Hand Path label.

Speaking of genre-blurring, let’s take a moment to appreciate Robert Lippok as an essential collaborator with modern classical musicians. From his beautifully understated work with guitarist Takeshi Nishimoto a few years back, to this year’s touching Kubus with Kaan Bulak (on Bulak’s wonderful Feral Note label), Lippok has proved that rare electronic musician who can work in traditional realms without showing the seams on either side of the equation (if you dig Alva Noto & Ryuichi Sakamoto’s collaborative work, Kubus is well worth your time).

Lastly, I’ll embarrass Peter by saying that Intimacy In A Fluid World is the best thing I’ve ever heard from him. If Hardy Fox from the Residents hadn’t died in 2018, I suspect he would have been bowled over by this ethnographic look at a world that doesn’t (yet) exist.

Hard Hits

To be honest, after a decade that saw techno going harder and darker with each hour, I wasn’t expected to hear hard/dark techno in 2019 that would really wow me. Enter veteran Paula Temple, whose Edge of Everything managed to make 909 rushes sound brand new, and Canadian newcomers minimalviolence, whose thrilling take on EBM/industrial/rave sounds scratched a real itch.

minimalviolence – InDreams.

The Return of…

2019 saw some excellent new releases and reissues from veteran artists. It’s nice to see new appraisals of past classics (Nexus 21 and The Connection Machine back in print! The Chemical BrothersSurrender remains essential! The Mad Professor dub versions of Massive Attack’s Mezzanine at long last!), but perhaps even more thrilling to see what established artists can do to still surprise us.

Special mention is due for Cosey Fanni Tutti, whose self-titled Tutti served as an incredible statement of purpose and captured the exploratory and unsettling voice that she’s carried through Throbbing Gristle, Chris & Cosey, and as a solo artist. After the engrossing read of her 2017 memoir, Art Sex Music, Tutti felt like a fitting musical summation and sequel.

If Cosey Fanni Tutti’s album felt like a summation of her powers, Kim Gordon’s No Home Record arrived as a pleasantly shocking left turn. Maintaining the attitude and social commentary of Sonic Youth, but shifting to electronic beats and a hip-hop framework, No Home Record is the kind of album that surprises you, then makes perfect sense as it becomes a quick favorite.

The returns came one after the other this year. Future Sound of London brought back their acid electro alias Humanoid in fine form. After a series of reissues of his material as As One, Kirk DeGiorgio resurrected the alias for Communion, one of his all-time best albums. The Cinematic Orchestra returned after a long absence to strike the same emotional chords with friends and styles old and new. Mira Calix made a very welcome return to Warp, where we’ll hopefully see a new LP from her in 2020 alongside fellow sublime Warp legends Seefeel. Rod Modell pushed the tempo on his Deepchord formula and ended up with some of the most exciting fast-paced techno this side of ASC. 

Speaking of ASC

Was there a more prolific artist than ASC in 2019? I’m pretty sure ASC released more tracks than the number of times I changed my pants in 2019 (make of that what you will). Carrying on the fast techno style he led with the Realms series, going back to the eerie well for an EP on Samurai/Horo, finding inspiration from sci-fi classic THX-1138…and that’s not even covering his album on A Strangely Isolated Place. The dude’s prolific and deserves your ear!

If there was a challenger to ASC’s release schedule in 2019, perhaps it was Amon Tobin. Coming back from a hiatus, Tobin released three albums and an EP, indulging in pseudonyms new and old (the return of Cujo!) and exploring everything from garage rock to autoharp lullabies. 

The Reality of our Surroundings

As I mentioned earlier, 2019 was a year of much anxiety. While it’s easy for us to sit back and enjoy some of the art, the realities – from climate crisis to rising fascism to the dehumanizing of refugees – are impossible (and selfish) to ignore. Music is a healer, but it’s also a galvanizing force. Listening to Meemo Comma’s Sleepmoss and Lamin Fofana’s Black Metamorphosis – two of the year’s most deeply affecting and tough to pin down releases – I’m struck by the ability of music to be both a salve and a reminder of our complex reality. Zonal’s Wrecked – a collaboration between The Bug, J.K. Flesh, and Moor Mother, and perhaps the heaviest listen of the year – provides no easy comforts, but screams for hope in the midst of desolate situations.

I’ll leave things on a simple and positive note, with “Ende #2”, the beautiful closer to Robag Wruhme’s gorgeous Venq Tolep. Over a simple ambient soundscape, we hear greetings from collaborators and friends from around the world. It’s a difficult world, but we do have each other.

And that brings us to this year’s selections – even this extensive list covering just a fraction of some of the best of this year’s bounty, some well recognized, some not so much. We’ve certainly missed music, so let us know if there’s more to hear in comments – including your own work. Thanks as always to David for providing his singular point of view – a human algorithm, as we believe in the users.

Now give these a search on Bandcamp and support the artists and labels. -Ed.

Top 52 albums

Rod Modell – Captagon.
Patten – Flex.

0N4B — Supra/Infra/Intra (Kaer’Uiks)

Amon Tobin — Long Stories (Nomark)

Andrew Pekler — Sound from Phantom Islands (Fatiche)

Andy Stott — It Should Be Us (Modern Love)

Artefakt — Monsoon (Semantica)

As One — Communion (De:tuned)

ASC — Realm of the Infinite (Auxiliary)

Barker — Utility (Ostgut Ton)

Blato Zlato — In The Wake (self-released)

Chrissy — Resilience (Chiwax)

The Cinematic Orchestra — To Believe (Ninja Tune)

Coppé — Na Na Me Na Opera (Mango + Sweet Rice)

Cosey Fanni Tutti — TUTTI (Conspiracy International)

Cosmin TRG — Hope This Finds You Well (Fizic)

E L O N — Pneumania (Left Hand Path)

Fennesz — Agora (Touch)

HTRK — Venus in Leo (Ghostly Intl.)

Humanoid — Built by Humanoid (FSOL Digital)

I Am Snow Angel — Mothership (self-released)

John Shima — The Lonely Machine (Firescope)

Kim Gordon — No Home Record (Matador)

Konx-om-Pax — Ways of Seeing (Planet Mu)

Kyle Bobby Dunn — From Here To Eternity (self-released)

Lamin Fofana — Black Metamorphosis (Sci-Fi & Fantasy)

Lapalux — Amnioverse (Alpha Pup)

Lisieux — Psalms of Dereliction (Steelwork Maschine)

Meemo Comma — Sleepmoss (Planet Mu)

minimalviolence — InDreams (Technicolour)

patten — FLEX (555-5555)

Paula Temple — Edge of Everything (Noise Manifesto)

Peter Kirn — Intimacy in a Fluid World (Kotä)

Pixies — Beneath The Eyrie (Infectious)

Plaid  — Polymer (Warp)

Pom Pom — Untitled 2 (A-Ton)

Richard Norris — Abstractions Volume Two (Group Mind)

Robag Wruhme — Venq Tolep (Pampa)

Robert Lippok & Kaan Bulak — Kubus (Feral Note)

Rod Modell — Captagon (Tresor)

Stefan Goldmann — Veiki (Macro)

Stenny — Upsurge (Ilian Tape)

Stephen Mallinder — Um Dada (Dais)

Synkro — Images (Apollo)

Thighpaulsandra — Practical Electronics with Thighpaulsandra (Editions Mego)

Thom Yorke — Anima (XL)

TM404 & Echologist — Telomic Ghost (Kynant)

Tralala Blip — Eat My Codes If Your Light Falls (Room 40)

Various Artists — ШЩЦ/SHITS (ШЩЦ)

Vilod — The Clouds Know (Mana)

Wang Changcun — As Plausible As Anything Else (play rec)

Xeno & Oaklander — Hypnos (Dais)

Yehezkel Raz — 9 Moons (Artlist.io)

Zonal — Wrecked (Pressure)

Top 15 EPs 

Galcid – Galcid_s Ambient Works.

Abstract Thought — Abstract Thought (Clone)

Alis — Papercuts (Astral Plane)

Claro Intelecto — Forgotten Wasteland (Delsin)

Fanu & Infader — One Thing And Another (Lightless)

Floorplan — “So Glad” / “Feel Him Moving” (M-Plant)

Galcid — Galcid’s Ambient Works (Detroit Underground)

Goiz – Green (Open Space)

Hyusfall — Folsdune (self-released)

Kero & Valence Drakes — Abstract Thought (Detroit Underground)

Kiefer — Bridges (Stones Throw)

LFO — Peel Session (Warp)

Mira Calix — utopia (Warp)

Ras G — Dance of the Cosmos (Akashik)

Seefeel — Sp/Ga 19 (self—released)

Substance — Rise and Shine (Ostgut Ton)

Top Reissues / Compilations

Solar X – Xrated.

Ami Shavit — Yom Kippur 1973 (Sub Rosa)

Deadbeat — The Echochord Sessions (BLKRTZ)

F.U.S.E. — Dimensions (Plus 8)

Gramm — Personal Rock (Faitiche)

Happy Mondays — The Early EPs (London/Factory)

Massive Attack — Mezzanine (Deluxe) (Virgin)

Múm — Yesterday Was Dramatic, Today Is OK (Morr)

Nexus 21 — The Rhythm of Life (Blue Chip)

Osamu Sato — LSD Revamped (Ship to Shore)

Prince — 1999 (Warner Bros.)

Slava Tsukerman, Benda Hutchinson, Clive Smith — Liquid Sky (Death Waltz)

Solar X — Xrated (Galaxiid)

The B-52’s — Cosmic Thing (Rhino)

The Chemical Brothers — Surrender (UMC/Virgin/Freestyle Dust)

The Connection Machine — Painless (Down Low)

The Residents — Eskimo (pREServed Edition) (Cherry Red)

The post The best music of 2019: as genre erodes, new gems emerge appeared first on CDM Create Digital Music.

FCC Postpones Filing Deadline for First Annual Children’s Television Programming Report and Announces Effectiveness of Other Changes in Children’s Television Rules

Delivered... David Oxenford | Scene | Mon 30 Dec 2019 5:23 am

The FCC gave a present to TV broadcasters at the end of the week before Christmas by issuing a Public Notice announcing the effective date of the remaining changes to the children’s television rules, and postponing the filing date for the initial Children’s Television Programming Report, which was to be filed by January 30, to March 30.  This will give broadcasters more time to become familiar with the new report.  The annual Children’s Programming Report takes the place of the Quarterly Children’s Television Programming Reports, and are designed to report on the educational and informationalcore programming” broadcast by a television station to meet its obligations for such programming.  Also announced in the Public Notice is an FCC webinar on January 23 from 1:30 to 2:30 pm ET to review the new form.

Other provisions of the rule that became effective following the pre-Christmas publication in the Federal Register of the approval of the rule changes by the Office of Management and Budget (following the required review under the Paperwork Reduction Act of the changes in the paperwork burdens imposed by the modifications of the rules) include the following:

  • The elimination of the requirement for noncommercial stations to display the E/I symbol during core programming (retaining the requirement for commercial TV stations);
  • The elimination of the requirement to provide publishers of program guides the age group for which each core program is intended;
  • The revision of the rescheduling and viewer notification rules for core programming that is preempted;
  • The adoption of revised reporting periods for children’s TV commercial limit certifications from quarterly to annually (the last quarterly certification being due in stations’ public files by January 10 for the last quarter of 2019 – with the first annual certification for 2020 being due by January 30, 2021).
  • The elimination of the requirement to publicize the existence and location of a station’s Children’s Television Programming Report.

These changes follow the FCC order this summer adopting the new rules, and prior public notice on the effective date of the Annual Children’s Programming Report.  See our posts here and here.  Be sure to note these changes in your operations.

THE BEYOND WONDERLAND 2020 LINEUP IS STARTING TO ROLL OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Mon 30 Dec 2019 12:50 am
They're revealing the lineup with Beyond Cards, see who's been announced so far!

Beatrice Dillon: the most thrilling new artist in electronic music

Delivered... Chal Ravens | Scene | Fri 27 Dec 2019 7:00 am

The London musician is releasing her debut album after years of odd jobs and collaborations, pitting the highbrow against the homespun in masterfully light yet complex music

‘The computer always wins, that was my phrase.” Beatrice Dillon is explaining the sound of her debut album, Workaround, in which her computers spar with acoustic instruments played by a dozen guests ranging from cellist Lucy Railton to tabla player Kuljit Bhamra (who has an MBE for services to bhangra, Dillon points out proudly).

Related: Bradford bassline and ketamine-charged punk – 50 new artists for 2020

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Tesla just added music-making tool Trax to their car dashboard

Delivered... Peter Kirn | Scene | Fri 27 Dec 2019 1:05 am

Update your Tesla, get a (simple) DAW. Trax 0.1 has simple percussion, melody, and step-sequencing and arrangement tools for the car dashboard.

You get pads and a keyboard for playing, a small selection of instruments (pad, synth bass, TR-808), and basic step sequencing and arrangement tools. It looks for all the world like a really simple iPad app, but you will notice the Tesla touchscreen has a fair bit of latency compared to an Apple tablet:

Engadget has the story, though I suspect they got some coal sent to them from Apple for saying GarageBand isn’t professional. (I think it is; I know Apple believes it is. But I digress.)

Tesla puts a music-making app in your EV

My car is the S-Bahn, but maybe someone out there has a Tesla and can tell us how export and other features work. The “0.1” in the version suggests they might add more in the future if people like this thing.

It’s part of the Tesla 2019.40.50 Update, in time for the holidays.

I, uh, do have a driving license if someone from Tesla wants to think of me as a powerful music tech influencer to try this out. Uh huh. Totally.

So why the heck would you want a DAW in your car? Well, Tesla are adding lots of gee-whiz features to their software to show off, obviously. But presumably as Engadget speculates, maybe this is ” a way to capture a flash of musical inspiration while you’re sitting in the parking lot.”

Or mainly to show off your fancy car, as you’re still more likely to use an iPad or iPhone or even Android smartphone with better latency and vastly more storage. That said, it’s nice to see Tesla thinking of music-making as something to add – on that note, I agree with the first tweet.

Now, just give us the ability to hook the dashboard arrangement tool to the car horn, and think we’re really talking.

The post Tesla just added music-making tool Trax to their car dashboard appeared first on CDM Create Digital Music.

It’s made from Santa’s Fire Trucks, but this free Ableton Live pack makes chilled-out sounds

Delivered... Peter Kirn | Scene | Thu 26 Dec 2019 9:12 pm

Brian Funk aka AfroDJMac continues his epic run of sound packs for Ableton Live, with a Christmas freebie made from sampled fire trucks.

Ranking up there with “how does Santa deliver all those presents in one night?” has to be “how does Brian actually make this many Live sound packs?” Seriously, the guy might actually have produced more sound content for Ableton Live than most of the makers of the internal packs at this point – I’ve lost count.

But while the mention of fire trucks evokes blaring chaos, this addition is soft, sweet, and melodic. Brian’s local fire department escorts Santa’s sleigh on a lit-up fire truck convoy. He captured that sound and transformed it into something ideal for wintry ambient melodies and the like.

Not only does this make a lovely free download, but it might inspire you to do some sampling of your own, particularly if you get some days off or travel over the holidays.

And there you go, it’s free pack #189, so feel free to put a YouTube yule log on, and fall down a link hole of sounds for Live if you so choose:

https://brianfunk.com/blog/2019/12/25/santas-fire-trucks-free-ableton-live-pack-189

This is the sixth annual hristmas giveaway, more if you count each sound individually.

And hey, while Hannukah is coming to a close Monday (happy Hannukah, too, by the way!) — Orthodox and Russian Christmas is still some a week and a half away yet, so there’s time to get your own sounds together. Go!

The post It’s made from Santa’s Fire Trucks, but this free Ableton Live pack makes chilled-out sounds appeared first on CDM Create Digital Music.

Heres a list of top 5 Nucleya songs that fans cannot get over – Republic World – Republic World

Delivered... | Scene | Wed 25 Dec 2019 12:25 pm
Heres a list of top 5 Nucleya songs that fans cannot get over - Republic World  Republic World

Bitwig Studio just added a free vocoder, because Xmas

Delivered... Peter Kirn | Scene | Tue 24 Dec 2019 8:27 pm

Blah blah, more holiday greetings, oh and — yay, some software asking for an update. But lo, a miracle – this one is just there to give you a free vocoder.

Yes, I have to admit at first I was annoyed by a YouTube video that was just telling me “Merry Christmas and a Happy New Year.” (Feiertage is the somewhat neutral German term if you want the holiday, right? Not to start a War on Christmas or anything.) And I also swatted at the update notification when I launched Bitwig Studio, swapping as I do between different DAWs, because updates – bah, humbug.

But Bitwig actually has a very cool vocoder in this release. And… that’s it. They’re just giving it to you, automatically in the update, one small enough (183M) I downloaded it over my phone in the studio. This is how it should be, no?

It’s 3.1.1 we’re talking about, hot on the heels of microtuning-enabled, enhanced version 3.1 which just came out of beta.

It’s also relevant that this is an internal vocoder, because it can then take advantage of integration with Bitwig’s own routing for modulation, audio, and pitch – the thing that tends to make using plug-in vocoders annoying.

I just downloaded it, plugged it in on a track and – oh yeah, this thing works right away (even auto-routing carrier/modulator) and sounds utterly brutal on percussion at 8 bands.

From the release notes:

  • Chains for both the Modulator (signal analyzed; defaults to device’s audio input) and the Carrier (signal filtered with the Modulator’s spectrum).
  • Simply add the Audio Receiver or Note Receiver devices into the chains to configure routing as you please.
  • Formant and Brightness adjustments, to twist and skew the spectrum.
  • Between 8 and 80 bands for each section, and the option to go full stereo.
  • Slope and Bandwidth controls, for band-pass tuning.
  • Attack and Release times for the envelope followers, plus a Freeze toggle to hold modulator levels.
  • Default preset with noise as carrier, and 20 more presets.

People already like it; here’s Polarity Music with a tutorial:

I am pleased. This is a ton of stuff to play with to avoid any seasonal depression.

And kudos to all my neighboring Berlin-based software and hardware engineers and support staff, working for makers big and small. It’s been at times a very strange year here in the German capital, but also I really appreciate the work everyone does. Gluhwein on me.

Bitwig Studio 3.1

Previously:

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Hey Metronome: this $1 iOS app doesn’t threaten privacy or require online access

Delivered... Peter Kirn | Scene | Mon 23 Dec 2019 7:13 pm

Now you can get hands-free metronome features while you practice and play – without worrying about privacy or needing signal.

Hands-free music makes sense. If you’re an instrumentalist, it means the ability to use your music gadgets along with your instrument, without taking your hands off the keys, string, bow, and so on.

But there are some issues with the way major tech providers generally provide voice recognition.

Big corporate Internet-powered online assistants pose some real privacy risks. For just one example, The Guardian surveyed the use of human contractors and other privacy worries around big five Amazon, Apple, Facebook, Google, and Microsoft – with a particular focus on Amazon. That may not be a big priority for musicians. But as I wrote when Roland adopted some (otherwise very cool) Amazon Alexa features on its digital pianos, those consumer concerns will bleed over in music manufacturing as the two industries partner.

Oh, yeah, and another problem – what if you don’t have any signal in your studio? Lots of musicians practice when touring, or in basements without cell phone reception or wifi.

Audiokit, the makers of friendly and open source developer tools for music and audio, have a solution. Their app ‘Hey Metronome’ uses voice recognition that works on the device, rather than connecting to the cloud. And given you’re using simple commands, that makes sense. You can set meter and tempo or even tempo and range simply by saying “Hey metronome, set tempo to allegro” or whatever bpm or time signature you want.

The iPad version is also looking really nice.

For musician users, you get a one-buck music app that’s likely a must-have. For developers, the code is open source – and if you’re learning how to develop apps, it also represents a simple app you can use to learn to code. (Audiokit promise a “free coding tutorial series, teaching students and enthusiasts how to build their own music app.” Looking forward to that!)

Synthtopia gets the first scoop on this, and say that the developers plan more voice-controlled music applications in the future. That’s thanks to a partnership with speech recognition experts KeenASR Research.

By the way, if you’re a developer, KeenASR has an on-device voice control SDK (it’s also right on GitHub). It works on Android as well as iOS; Audiokit is focused exclusively on Apple platforms (iOS, macOS, tvOS, and Apple Watch).

https://keenresearch.com/

Grab the app on the App Store, of course:

AudioKit Hey Metronome [iOS App Store]

Previously:

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FCC Reinstates 2016 Ownership Order and Gives Instructions for Sale and Renewal Applications in Light of Third Circuit Decision Overturning Rule Changes

Delivered... David Oxenford | Scene | Mon 23 Dec 2019 5:03 pm

Late Friday, the FCC issued an Order reinstating the FCC’s 2016 ownership rules, recognizing that the changes made in those rules in 2017 (see our post here) were no longer effective because the Third Circuit Court of Appeals had thrown out the 2017 decision. See our post here on the Third Circuit decision and our article here on the court’s denial of rehearing en banc.  While the FCC may still try to appeal the Third Circuit decision to the Supreme Court, the Third Circuit’s mandate has issued, meaning that its order is effective even if a Supreme Court appeal is filed.

Among the rule changes that have been rendered a nullity are the abolition of the broadcast-newspaper cross-ownership rule (once again reinforcing what we have written several times, that the rule may well outlive the daily newspaper) and the radio-television cross-ownership rule, the local TV ownership rule that had allowed combinations of two TV stations in the same market even if there were not 8 independent voices in the market after the combination, and changes to the FCC’s processing policy with respect to radio embedded markets.  These changes required the FCC to also issue two Public Notices dealing with these changes.

The first Public Notice deals with license renewal applications and requires that anyone with a pending license renewal application for a commercial station must file an amendment stating whether the station licensee (and each party with an attributable interest in the licensee) complies with the FCC’s 2016 cross-ownership rules that are now in effect.  Going forward, every renewal application for a commercial station must report any violation of the broadcast-newspaper or radio-television cross-ownership rules.

The second Public Notice similarly requires any application for approval of an assignment or transfer to confirm that the proposed sale will comply with the 2016 rules.

The Third Circuit decision certainly has affected the plans of many broadcast companies.  These FCC decisions help drive home the effect of the decisions.  While the FCC may still be taking steps to deal with the court’s decision (including a potential appeal of the decision), until such steps are taken, the Third Circuit’s decision is the rule of the land.  Watch for more developments after the holidays.

The best underground dance music of 2019

Delivered... Tayyab Amin and Lauren Martin | Scene | Mon 23 Dec 2019 11:00 am

Whether it was Conducta’s anti-nostalgic UK garage revival or the experimentalism of Shanghai’s SVBKVLT label, 2019 saw dancefloor boundaries staked out in exciting new territory

Gabber Modus Operandi

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THE SECOND WAVE TREEFORT MUSIC FEST 2020 LINEUP IS OUT

Delivered... Spacelab - Independent Music and Media | Scene | Sun 22 Dec 2019 11:00 pm
Calexico, Grouplove, Built To Spill, Lightning Bolt, Xiu Xiu, and more!

COACHELLA 2020 LINEUP RUMORS: FRANK OCEAN, TRAVIS SCOTT AND MORE

Delivered... Spacelab - Independent Music and Media | Scene | Sun 22 Dec 2019 11:00 pm
Let the lineup predictions begin!

2020 = 303 + 808 + 909, literally

Delivered... Peter Kirn | Scene | Sat 21 Dec 2019 7:37 pm

As many have observed (even before Roland themselves caught on), the year 2020 is the sum of 303 + 808 + 909.

So 2020 means some serious techno (and acid techno), and auspicious dates to celebrate March 3, August 8, and September 9. Mark those techno calendars.

If you want to consider the zodiac, you may need a different year. Japan’s Juunishi is derived from the Chinese zodiac, and 2020 (which starts toward the end of January) is the Year of the Rat. Then again, it is associated with wealth, so – business techno? Consider also charm, persuasiveness, artistic talent, and creativity meaning all techno fits.

The closest year of the rat to the Roland machines in 1984, which is a little late. On the other hand, here’s some Cybotron for that year, just so you’re prepared.

Photo (CC-BY-SA) Alexandre Dulaunoy.

The post 2020 = 303 + 808 + 909, literally appeared first on CDM Create Digital Music.

Get a free plug-in version of the 1176 Peak Limiter

Delivered... Peter Kirn | Scene | Sat 21 Dec 2019 6:59 pm

The pre-Christmas week is turning out to be a great time to load up your plug-in folder. Next – an IK Multimedia rendition of a landmark dynamics processor.

After two versatile and essential reverbs for free this week, now you get one of the most effective dynamics processors of all time, too. Broke producers, Merry Christmas and Happy Hanukkah to us!

Through Christmas, you can get IK’s Black 76 Limiting Amplifier via Audio Plugin Deals. You’ll need to fill out a form, but you can opt out of any marketing use. Then you get an authorization code and use IK’s own Authorization Manager to download and install.

The 1176 is a 1976 classic from Universal Audio. (At the time, UA was operating under the name UREI, or United Recording Electronics Industries. Uh… we’re glad they went back to the original name.)

It uses a FET (field effect transistor) wired in a feedback configuration to reduce gain. The important thing about that technical detail is that it also colors the sound in a way that a lot of people then – and now – find pleasing. It is actually a Bill Putnam Sr. original, with later revisions by UA’s Brad Plunkett. So if you want a faithful copy, you can get either a hardware reissue or software DSP-based recreation from UA themselves.

IK Multimedia’s recreation here is accurate but pretty basic – it’s an older plug-in, so it’s possible you have a better rendition already in your arsenal. For instance, in addition to the UA plug-ins, I’m a big fan of the Native Instruments – Softube collaboration on the Vc 76. That one deviates from the original hardware by adding a dry control (for parallel compression) and a sidechain input (for… various ideas).

That said, if you don’t have an 1176 amplifier, this one is a versatile and characteristic dynamics processor you can use all over the place. You get the most popular rev, revision E of the 1176LN (low-noise, signifying that Brad improved the circuitry).

And crucially, IK did a good job of the “all button mode” or more serious-sounding “British mode.” That’s a fancy way of saying that sound engineers discovered that they could mash all the compression ratio buttons together at once, and get a unique, squashed sound. They also found a “no button mode” – that is that they could get all the buttons to release at once. That lets you just color the sound with the 1176, but I think it may be missing on the IK.

Let’s pause, though, and reflect – some of the most famous sound engineers in history were mucking about with the buttons on their insanely expensive gear. Hey, what is sound tech if not something you can intentionally misuse, at random? Some things never change. Here’s an example of what you get, but – you’ve heard this everywhere, you just may not have known it:

Actually, I guess this is the funny thing about plug-ins… there is a certain alchemy to all of this. By the time you’re at mixing and mastering, you probably want to know what you’re doing, or hire someone who knows what they’re doing. But I don’t know that there’s any scientific way to describe “hey, let’s mash buttons together and see if we like what we hear.”

And that’s a very good reason to go download this.

IK Multimedia product page, where this is 99 bucks. For a better buy, get their T-Racks tool that’s got a bunch of different choices in a single, integrated interface (but still with skeumorphic interfaces so you feel like you’re looking at the real thing).

While we’re at it, Universal Audio has some tips on using their 1176 collection – and it’s possible you got a version of this bundled with your hardware, if you bought from them. But you could apply these tips to other plug-ins that model the 1176.

I’m going to try this one just to compare its all-button and no-button sound to the Softube Vc 76. And of course sometimes this really is trial and error on source material, as accuracy may or may not be important to what you want to do. Someone who does have the original hardware or, like, actual engineering skills, I’m glad to hear from you.

More free holiday stuff – I’ll put together a full list if there’s more.

The post Get a free plug-in version of the 1176 Peak Limiter appeared first on CDM Create Digital Music.

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