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Indian E-music – The right mix of Indian Vibes… » 2019 » December » 06


LEEDS FESTIVAL 2020 DAY TICKETS GO ON SALE SATURDAY

Delivered... Spacelab - Independent Music and Media | Scene | Fri 6 Dec 2019 8:00 pm
Liam Gallagher is going, are you?

READING FESTIVAL 2020 DAY TICKETS GO ON SALE SATURDAY

Delivered... Spacelab - Independent Music and Media | Scene | Fri 6 Dec 2019 8:00 pm
Liam Gallagher is going, are you?

Grimes review – a suitably surreal invasion of the Miami Art Basel

Delivered... Kevin EG Perry | Scene | Fri 6 Dec 2019 6:30 pm

The artist appeared among Florida’s monied art fiends with a pristine alternate-reality trip – and a gloriously flawed DJ set

The art world has descended on Miami for Art Basel, the annual fair dedicated to proving that old idiom about a fool and his money. The most talked-about piece so far is by the Italian artist Maurizio Cattelan, who has found at least two buyers for a work consisting of a banana duct-taped to a wall. Arrested Development’s Lucille Bluth once blithely asked: “I mean, it’s one banana, Michael. How much could it cost?” The answer, it turns out, is $120,000.

Grimes fans could be forgiven for wondering if she might pull similar art pranks at her mysterious one-off show Bio-Haqué, held at an abandoned RC Cola plant that’s now transmogrified into a graffiti-blitzed 7,000-capacity outdoor venue in the city’s trendy Wynwood district. Details were scant when she first announced the show, writing cryptically on Instagram that she’d be joined by fellow provocateurs Sophie and Nina Kraviz and that it would be “a place where the well-proven anti-aging properties of raving have been distilled into the most potent experience available on the market today”.

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CAMP BISCO 2020 TICKETS ARE ON SALE

Delivered... Spacelab - Independent Music and Media | Scene | Fri 6 Dec 2019 6:00 pm
The ticket sale is on! New weekend, same great location, same great Bisco!

Franken FMs – The FCC Asks if It Should Continue to Allow Channel 6 LPTV Stations to Operate as FM Broadcasters

Delivered... David Oxenford | Scene | Fri 6 Dec 2019 4:57 pm

The audio from analog channel 6 TV stations can be heard on the FM dial at 87.7 – which is below the lowest official point on the standard FM band in the US (which ends at 88.1) but is nevertheless tunable on most FM radios. Over the last decade, many LPTV stations on channel 6, in markets where they had no other viable business model, turned to providing FM service through these stations. The FCC has for years inquired if these operations, often referred to as Franken FMs, should be permitted (see our articles here and here) but has never moved to stop it. Now, with the 2021 deadline for the conversion of LPTV stations to digital operation, LPTV operators have asked the FCC to bless the post-conversion operation of an analog audio signal embedded in the digital Channel 6 LPTV station transmissions so that these FM broadcast can continue, following up on a proceeding begun in 2014 (see our article here). This week, the FCC issued a Public Notice asking for additional comments as to whether these Franken FM operations should be allowed to continue, and if so what rules should govern them.

The release of this Public Notice came as somewhat of a surprise, as a similar question had recently been asked in an FCC proceeding looking primarily at LPFM rule changes, but also addressing issues about the relation of TV channel 6 to FM broadcasters (see our article here on that proceeding). In this week’s Public Notice, the FCC suggests that the LPFM proceeding is asking only whether the elimination of protections between channel 6 TV stations and noncommercial radio stations in the reserved band, as proposed in that proceeding, is compatible with the continued operation of these Franken FMs after the digital conversion deadline. It is the proceeding in which these additional comments are now being requested that will address how these stations will be regulated on a permanent basis in the future. To determine that future, this week’s Public Notice poses many specific questions about the continued operation of these Franken FMs.

Among the questions asked by this Public Notice are the following:

  • Is the operation of separate audio and video programming authorized by the current LPTV rules?
  • Can the FCC authorize the provision of this analog audio service as an “ancillary and supplementary service” to the digital operations of these Channel 6 LPTV stations?
  • If the FCC can authorize this analog audio service, should it be limited to current Channel 6 LPTV stations that are providing such a service, or can any Channel 6 LPTV offer the service?
  • Do these Channel 6 audio operations cause interference to FM stations operating in the actual FM band? If so, how should such interference be regulated?
  • Is the continued operation of these analog signals consistent with the FCC’s goal of converting all TV operations to digital?
  • If allowed, should these FM operations be transferrable – or would the rights to broadcast an analog FM signal terminate upon the sale of a Channel 6 LPTV station?
  • Should FM operational rules apply to these LPTV stations?
  • Should the LPTV licensee be subject to a yearly fee of 5% of annual gross revenues, payable to the FCC for this service if it is treated as an ancillary and supplementary service?

Comments will be due 30 days after this Public Notice is published in the Federal Register. Reply comments will be due 45 days after Federal Register publication. If you are interested in these Franken FM services, file your comments in this proceeding when the filing dates are announced.

Radio Stations Receive Inquiries from GMR on the Production of Interim Licenses – What Is this All About?

Delivered... David Oxenford | Scene | Fri 6 Dec 2019 4:54 pm

In the last week, we have received many inquiries from radio stations that received a notice from attorneys for Global Music Rights (GMR) about document production in GMR’s litigation with the Radio Music License Committee (RMLC).  As we have written before (see, for instance, our articles here, here and here), RMLC and GMR have for several years been engaged in antitrust litigation.  RMLC is seeking to impose outside review on the rates that GMR can charge broadcasters for the public performance of the music written by the songwriters that they represent, while GMR argues that RMLC itself violates the antitrust laws by unifying competing broadcasters and preventing them from doing business with GMR.

The recent communications from GMR concern GMR’s obligation to produce documents to the RMLC’s attorneys in discovery in this litigation.  Because RMLC has not been directly involved in GMR’s dealings with radio stations over the interim license agreements (and because RMLC itself does not have copies of the interim licenses that stations entered into with GMR), RMLC’s lawyers asked GMR for the production of these licenses as part of their discovery.  Because the interim licenses contain some confidentiality language, GMR’s recent communications was to let stations know that they are planning to produce those licenses to the RMLC’s attorneys, subject to the Protective Orders that GMR attached to their messages.  These Protective Orders are designed to keep the information in those licenses out of the public record, to be reviewed only by a limited group of people including RMLC’s attorneys and expert witnesses. The GMR communications are asking broadcasters if they have objections to the production of these licenses to RMLC’s lawyers.     

In deciding whether to express concerns about GMR providing those documents to RMLC’s attorneys, stations should consult their own counsel.   GMR’s notices provide the names of their counsel who station management, or their attorneys, can contact if they have concerns about the production – which GMR asks be done by December 9. These notices are just one more indication that this litigation is continuing. As we noted before, it may well go on for several more years. This litigation is important to the broadcast industry so watch for further developments in this case.

ELECTRIC FOREST 2020 TICKETS ARE ON SALE!

Delivered... Spacelab - Independent Music and Media | Scene | Fri 6 Dec 2019 4:00 pm
The ticket sale to the general public is now OPEN! Anyone can buy tickets.

Meet CYRK, The Rising Berlin Production Duo Pushing Classic Electro Sounds Into The Future

Delivered... svt303 | Scene | Fri 6 Dec 2019 12:40 pm

The post Meet CYRK, The Rising Berlin Production Duo Pushing Classic Electro Sounds Into The Future appeared first on Telekom Electronic Beats.

Watch KORG Gadget on Nintendo Switch prove music can be multiplayer fun, too

Delivered... Peter Kirn | Scene | Fri 6 Dec 2019 12:00 pm

In many, many languages, the word for “playing” music is the same as “playing” a game. So it’s fitting KORG has invaded the Nintendo Switch console with music-making – and that you can share with friends.

The translation of KORG Gadget to Nintendo’s Switch handheld is mostly novelty and fun convenience – you’re probably still going to find the iPad version easier to use solo. But where the Switch stands out is some of its multiplayer, collaborative twists. Since on key feature of the Switch (though not Switch Lite) is TV output, you can jam on a large screen or projection image. It’s the old gaming split-screen mode, like in Mario Kart and (back in the day) Goldeneye. Combine that with the “this is just for fun” feeling you get from holding a game console, and you get something you probably wouldn’t get quite so easily with other platforms. This is literally something you might bust out at a party.

The team at online tool Splice decided to give the mode a workout, and produced a video and short blog piece sharing their experiences:

Now, of course, instruments, bands, choirs – all of these provide the same social experience. And none of those things is going away, either, judging by the ongoing market for sheet music, acoustic instruments, accessories, education, and conferences in those fields (really, look it up). So maybe it’s not about production replacing traditional music. Maybe it’s more that we have this new form of musical activity – electronic production – and so far, we haven’t had a good way to share it.

Ever tried to work with a friend in something like Ableton Live? You can easily jam together by adding extra synth gear or drum machines. But using the actual tool Live often means “fighting” over the controls, because both the mouse/keyboard interface and things like Ableton Push tend to assume a single user. (Push will even regularly override other controllers and inputs, but I digress – this isn’t just a Live problem, but a limitation with the computer/user metaphor generally.)

So it seems like a small thing, but even this crude setup shows how you might think about this differently.

More from KORG on Gadget as used for educational purposes, and demonstrating its multiplayer features. (By the way, I was consulted, via New York’s Dubspot, with Rockstar Games on how to make a handheld gaming platform work in music education. The idea has been floating around – but today’s Switch is far better as a choice than the then-current Sony PSP Rockstar was using – sorry, Sony.)

English subtitled, go further into that classroom. I will just assume that in Japan it’s normal for all music teachers to wear lab coats.

Oh, and – another thing. Gaming in general offers an alternative paradigm for how we think about widespread access to music creation, and difficulty level. Not to harp endlessly on Amazon this week, but part of why I was triggered by their keynote was how tired the “everyone can make music without any skill or effort” refrain was.

Gaming has had to tackle this perception, too. But consistently, actual gamers ask for experiences that last. That might be a so-called “casual” game that still sucks up time and ramps up difficulty, or it might be punishing “hard-core” games. But one thing gamers have generally resisted is games that play themselves – which is why the “AI makes music for you” model is so screwed up. (The exception perhaps proves the rule – some mobile games now leverage the data on your usage to essentially squeeze money out of you, leaving the user doing little. Most everyone hates this, and even Apple and Google have had to intervene by changing the underlying business model.)

So back to multiplayer music – Korg GADGET doesn’t take out any of the fundamental work of music production in any other tool. What’s fun about it is making mistakes, screwing up together with other people. And even though theoretically someday this could work online, you can also see in the video that there’s something invaluable about being in the same room together with friends.

I personally think as music production does reach further and further around the world, it’s less and less likely you’ll need to connect online just to find someone else. But of course online multiplayer is there, too, when you want it – still with the large-scale visual feedback of splitscreen. It’s also not hard to imagine that soon the Twitch video streaming phenomenon will grow bigger in music, with some early first indications of crossover already.

Just look for installed base. The iPad is the assumed go-to for this sort of idea, and has its own jam-friendly Ableton Link protocol for just this use case. But iOS has limitations of its own, and it’s clear there are some different ideas possible even where you wouldn’t expect it, on Nintendo Switch.

I think there’s a lesson here for being creative with computing platforms, or even offering devices with video out – people do still own TVs and projectors.

Alternatively, print out this story, stick it in a file folder with your taxes, and tell your accountant that yes, you do need to deduct the cost of a Nintendo Switch. You’ve got just a few shopping days left until the end of the year if you want that to get taken off your tax bill for 2018.

You’re welcome. (Oh, you might want to redact this last bit. Guten Morgen, Finanzamt!)

The post Watch KORG Gadget on Nintendo Switch prove music can be multiplayer fun, too appeared first on CDM Create Digital Music.

Burial: Tunes 2011-2019 review

Delivered... Ben Beaumont-Thomas | Scene | Fri 6 Dec 2019 10:30 am

(Hyperdub)
The producer’s collected post-Untrue EPs reveal him as one of the most evocative voices in British music

The nights are drawing in and the weather outside is frightful, so it’s the time of year to reach for an old favourite – no, not just Michael Bublé but Burial, the south London producer whose tracks remain the perfect accompaniment to a moody illicit joint in the snow at your parents’ house over Christmas; the sound of cloud covering a 4pm dusk.

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