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Indian E-music – The right mix of Indian Vibes… » 2019 » December » 13


Delivered... Spacelab - Independent Music and Media | Scene | Fri 13 Dec 2019 5:00 pm
Tyler the Creator, Flume, Illenium, Glass Animals, Run The Jewels, Alison Wonderland, Kaytranada, Chris Lake, Run The Jewels and more.


Delivered... Spacelab - Independent Music and Media | Scene | Fri 13 Dec 2019 5:00 pm
Passes are available as General Admission and VIP tickets.


Delivered... Spacelab - Independent Music and Media | Scene | Fri 13 Dec 2019 4:00 pm
GA tickets are available in limited supply.

FCC Proposes Fines of Over $600,000 to Two Boston-Area Pirate Radio Operators

Delivered... David Oxenford | Scene | Fri 13 Dec 2019 3:53 pm

The FCC yesterday issued Notices of Apparent Liability to two pirate radio operators that totaled over $600,000, the largest fines ever issued for those operating radio stations without an FCC-issued license.  Both operated in the Boston area.  One was fined $151,005 for operating one station (press release here, a link to the full Notice of Apparent Liability will be added here when available). The second was fined $453,015 for operating three transmitters in the area (press release here, full NAL to be added here when available).  The FCC noted that these were the maximum fines that they could impose for these violations under current law, and that the fines were the result of several years of investigations and warnings to the operators.

Commissioner O’Rielly, in a separate statement, noted that he wished that the FCC had the authority to impose even higher fines and to proceed more quickly against these operators than allowed under current FCC procedures.  The Commissioner noted that he would be working with Congress to try to get legislation passed to speed the process and raise the penalties against pirate operators. We wrote about one of those legislative proposals here that would impose fines of $100,000 a day up to $2 million against these pirates and speed the process necessary to impose these fines.  The legislation would also allow fines directly against landowners and others enabling the operations of these stations.

I have been asked what good these huge fines would do as most pirate radio operators will never be able to pay them.  As noted by Commissioner O’Rielly, bigger fines would potentially get the attention of the Department of Justice to actually sue to collect these fines, as the FCC itself cannot enforce the fines that it imposes, and DOJ sometimes is reluctant to pursue violators, especially where relatively small sums of money are due.  Even if higher fines are not authorized by Congress, these two actions should get the attention both of the DOJ and of illegal operators and hopefully make some of those operators think twice about starting pirate radio station

St Vincent/Nina Kraviz: Masseduction Rewired review

Delivered... Aimee Cliff | Scene | Fri 13 Dec 2019 11:30 am

(Loma Vista)
Russian producer Kraviz moves St Vincent’s 2017 album through a variety of gloomy musical lenses, from footwork to dub

Throughout the 2010s, the album has become somewhat amorphous. Today’s artists are more prone to releasing multiple versions of their records, and many of the old rules about the format have gone out of the window.

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Daniel Lopatin: Uncut Gems Original Soundtrack review

Delivered... Ben Beaumont-Thomas | Scene | Fri 13 Dec 2019 10:30 am

Lopatin, AKA Oneohtrix Point Never, has created a soundtrack for the Safdie brothers’ latest that brings its whole roiling humanity brilliantly to life

Uncut Gems is one of the films of the year, cementing its directors, the Safdie brothers, as the masters of stressing you out by watching flawed people make even more flawed life decisions – here, Adam Sandler plays Howard Ratner, a gambling-addicted jeweller who is in love not so much with the winning as the survivors’ adrenalin of not losing. After scoring their previous film, Robert Pattinson heist movie Good Time, Daniel Lopatin – AKA electronic producer Oneohtrix Point Never, now composing under his own name – once again writes the music.

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Behringer unveil Eurorack Go case; what does it mean for the rest of modular?

Delivered... Peter Kirn | Scene | Fri 13 Dec 2019 6:48 am

Behringer’s anticipated moves into Eurorack are arriving – with a Eurorack case to get you started. There’s no price, but the product does look a lot like an existing competitor.

Behringer had already teased that they were planning low-cost entry into Eurorack modules, largely cloned from Roland’s decade-old vintage analog line. Behringer promised prices around fifty to a hundred bucks, deeply undercutting the prices of Roland’s own system 500, made in collaboration with boutique independent manufacturer Malekko. Those modules haven’t shipped yet, though.

Making a case as an accessory is a no-brainer for Behringer, given their desktop synths are already made to fit Euro cases and power. So, now we get Behringer’s own case entry.

And, no surprise, it looks … very familiar, based on an existing product in the market. Here’s a video with a run-down, plus a look at some modules.

What we know: it’s very close in design to the Tiptop Audio Mantis case’s unique form factor, handle, and stand design, minus some important details – more on that in a moment.

You get 2 rows of 140 hp, power supply, (+/-12 Volt and +5 Volts at 3 A), and a carrying handle that doubles as stand.

Significantly – it’s bigger (30% bigger) than the Tiptop offering, despite the “go” moniker, and it appears to lack the extra fold-out stands Tiptop added which may provide more stability on the Mantis. Of course, if you want more space, bigger also means more of that.

What we don’t know: the price.

Judging from comments on social media, to say nothing of sales of past products, for all those users who care about originality, a lot of other users really don’t. They either are unfamiliar with the other brand and product, or are familiar but don’t care so long as they get a cheaper price. (This is presumably the same logic that now has us flying cramped airplanes with no seat recline and no food and no luggage allotment because some fares appeared a little cheaper on an online search.)

But it’s also clear that Behringer critics and fans alike both are going on the assumption that the Behringer product will be the vastly cheapest offering, even though Behringer haven’t announced a ship date or price.

I mean, is that a fair guess? Maybe, sure. But the fact that Behringer doesn’t even have to announce a price before people assume it’ll be the cheapest is relevant. The Mantis isn’t terribly expensive, either, at 339EUR. Will Behringer be a little cheaper? Half the price? I don’t know.

Behringer is now able to make copies of shipping products, and then without shipping anything or announcing a price, it can already encourage customers to defer purchases of competing products.

Behringer now to almost everyone equates as the low-cost option. They now own the very idea of cheap – even before they ship anything.

Who’s to blame for this? Well, in part, the very people trying to attack Behringer’s brand reputation. Even as Behringer sometimes attacked its critics, all the buzz – the people complaining about them, the people defending them – cemented the idea that whatever had the Behringer name on it would be cheapest. That’s not to say you shouldn’t criticize companies. It is an illustration that you have to watch the perception of your message, especially if you’re criticizing a company as a competitor.

I think there are some takeaway lessons here for anyone in the industry wanting to compete:

  1. Don’t only play to customers on originality. There’s significant historical precedent for this in business. Apple Computer, for instance, infamously made a lot of noise about Windows “ripping off” their OS (in the form of the first versions of Windows). The upshot was that they inadvertently telegraphed to users that Windows was a good copy of the Mac, instead of focusing their message on why the Mac was a better choice and … well, the rest is history. Customers should hear a message about value, not just about what is or isn’t a ripoff.
  2. Assume most musicians now own some Behringer. Related to (1) – don’t shame Behringer customers, because at this point just about everyone has something the company has made, even if it’s some simple mixer or someone decided they couldn’t resist a Moog or 303 clone. Guilting users about gear is not a good strategy, ever. That said –
  3. You can reclaim cheap – and “shippingness.” Competing always works better than complaining. There are plenty of affordable products, plenty of original new products, shipping now. I do hope we don’t see the market just become high-end stuff for rockstars and then Behringer stuff for everyone else, because frankly, that’d be stupidly boring for those of us who love variety and are on a non-rockstar budget. So if Behringer now owns the notion of cheap or value, that is partly the fault of anyone who lets them claim the word. And customers love stuff they can get their hands on now – meaning if you’re shipping something and Behringer isn’t yet, that’s obviously an opportunity.

In fact, I think it’s telling that you’ll often now hear people say Behringer started the idea of cheap analog. That shows that many (all?) competitors lost control of the narrative. KORG’s original monotron line, for instance, remains one of the cheapest mainstream electronic instruments ever, as does their extensive volca range.

We need to get out of this echo chamber, which means to stop allowing conversations to become polarized between two sides. So let’s get back to the facts.

As far as Behringer Go – and whatever modules may ship – we have to wait and see – how’s the price, what’s the actual quality of the thing in use.

But you don’t have to wait for inexpensive options. Take a look at the Tiptop offering – and tons of stuff from Eurorack originator Doepfer, including cases. There are also products like the ultra-portable Pico from Erica Synths, or more recently the Crea8audio line (which also features the NiftyCase, with audio and MIDI integration built-in).

And that’s to say nothing of the many desktop and software options, which for some people are a better starting point anyway, something lost in all this hype about wires.

But surely the thing that really will burst the Eurorack bubble is if it stops attracting fresh customers – because it is an ecosystem. In a world of unsustainable growth, it’s also one area that is reasonably positive – people discovering advanced sound synthesis.

Affordable modules and cases to get people started are ultimately something the modular market needs – and has already started to figure out. Handled carefully and competitively, the entry of Behringer will be a net positive.

The post Behringer unveil Eurorack Go case; what does it mean for the rest of modular? appeared first on CDM Create Digital Music.

Hello, piano: Roland just added Alexa to their digital keyboard

Delivered... Peter Kirn | Scene | Fri 13 Dec 2019 5:19 am

Roland’s latest play for making digital pianos commonplace: add the popular Alexa service, and sell on Amazon.

Roland’s GO:PIANO is their consumer-focused line, touting beginner- and family-friendly features. There’s Bluetooth connectivity, and integrated iOS and Android app that promises to teach you ear training and score reading – there’s a reason that pic has an iPad on it. It’s a shame the styling is pedestrian, because otherwise this is more futuristic than some of its competition.

Add to that Alexa integration. Strangely, the press release I got suggests maybe you want to order a pizza with Alexa after finishing practicing.

I’m guessing any household that sees Alexa as a selling point already has a device to do that. Here, I’m guessing this is more about two things – one, adding voice control and music integration using Amazon’s tech, and two, selling through Amazon’s channel.

Alexa commands let you call up sounds directly, instead of paging through them with buttons. And – maybe more useful – you can also use voice control for hands-free metronome operation (start, stop, tempo change, change beat). You can also listen and play along to Amazon Music and other supported streaming services.

So, this may give a glimpse of what future business models look like – offering sheet music, karaoke versions, backing tracks, and full songs all together. Sheet music was and still is a major part of the business for many songwriters, so while this may be foreign if your last album was a violent noise record with Satanic verses recited by your cat, for other more mainstream artists …

Wait, I’ve lost my train of thought. Alexa, play karaoke version of “Hail, Satan, and stop working I’m sitting on your keyboard and want to cuddle, meow, die die die blood pain meow.” I would totally get down on that jam.

The catch to all of this isn’t really whether or not this gimmick is a good idea, but that the current Silicon Valley tech wars are likely to bleed over into the musical instrument channel.

That’s unlikely to ease controversies – some music artists have been unhappy with how Amazon streaming impacts their business, and protested labor practices and work with controversial US government programs targeting immigrants. And with any of the new voice tech, there are concerns like this:

Silicon Valley Is Listening to Your Most Intimate Moments [Bloomberg]

But I don’t think any of these concerns are things the music tech industry can simply opt out of. So reasoned debate may be exactly what it needs. And it’s good at least to see companies like Roland working to make their products stand alongside other consumer goods – even if you switch off the Alexa features and stick to playing it like, you know, a piano.


Also, just saying, Roland is the only company for you when you need a piano to match your new Tesla CyberTruck:

Hey, Roland had a few years’ head start on Tesla, too:


The post Hello, piano: Roland just added Alexa to their digital keyboard appeared first on CDM Create Digital Music.

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