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Indian E-music – The right mix of Indian Vibes… » 2019 » December » 18


KORG starts a new instrument division in Berlin, focusing on sustainable “things that matter”

Delivered... Peter Kirn | Scene | Wed 18 Dec 2019 10:38 pm

Former KORG Chief Engineer Tatsuya Takahashi is leading a new division in Berlin, alongside COO Maximilian Rest. And it sounds like a different kind of synth business.

It’s not clear just what exactly KORG Germany will do, apart from design instruments in Berlin. But the fact that “Tats” and Max are in charge, and that they’re writing some lofty mission statements, is enough reason to take notice. And they’re hiring, too, largely across engineering roles – mechanical, electrical, and software.

Tatsuya was at the engineering helm at KORG through some of the most innovative synth industry accomplishments of recent years. That includes the monotron and monotribe series, which helped kick off a boom in affordable modular and compact synths, followed by a string of volca hits (beats, bass, keys, sample, kick, fm), the collaboration with open source magnetic snap-together kit maker littleBits, the ARP Odyssey and MS-20 remakes which helped push the historical clone concept, and the fresh monologue synth.

Then Tats went to Yadastar, the independent marketing company that ran the Red Bull Music Academy program before Red Bull pulled the plug. And what we got from Tats was interesting, but nowhere near as accessible as his work for KORG – the Granular Convolver, for instance.

Well, now Red Bull’s loss is the synth world’s gain, because Tatsuya is back full-time with KORG. (He continued consulting for the company in the interim, as I understand it.) And he’s bringing with him collaborator Maximilian, who has long been a champion of making more sustainable products and reflecting on issues like labor practices. Max has also run his own independent business making modular and timekeeping pieces, E-RM; I’m unclear on what its future will be as he steps into the role at KORG.

So, what we get is a new enterprise that these two promise will engage both in new instruments and partnerships, and investigate “things that matter” and are made sustainably. With some flux at Behringer, ROLI, Native Instruments, and others, they may find some talent becoming free agents, too.

Team building is a big deal, and it’s worth noting that all those KORG products were possible because of collaborative, team-driven engineering efforts. So this talk of collaboration is itself compelling – even as some of Tats’ own private projects like audio-rate triggering a TR-808 are also rather cool and I suspect may figure into this, as well. (One of my highlights of 2019 was definitely making loud noises in a Latvian warehouse and then partying to Tats’ set!)

From their statements –

Tatsuya is CEO and says the company will make instruments with a core team “but also through per project partnerships and collaborations. “

Maximilian talks about sustainability and getting out of business as usual: “We will only market the things that matter, because the key to our way of great business is to respect each other as humans and the resources of our planet.”

More, plus job applications:

https://korg-germany.de

The post KORG starts a new instrument division in Berlin, focusing on sustainable “things that matter” appeared first on CDM Create Digital Music.

Election Season in High Gear for Broadcasters – Lowest Unit Rate Windows to Begin in Iowa This Week, New Hampshire Next and Other States Soon to Follow

Delivered... David Oxenford | Scene | Wed 18 Dec 2019 4:45 pm

While political broadcasting never seems to be totally off the airwaves, the 2020 election season is about to click into high gear, with the window for lowest unit rates to begin on December 20 for advertising sales in connection with the January Iowa caucuses. That means that when broadcasters sell time to candidates for ads to run in Iowa, they must sell them at the lowest rate that they charge commercial advertisers for the same class of advertising time running during the same time period. For more on issues in computing lowest unit rates, see our articles here, here and here (this last article dealing with the issues of package plans and how to determine the rates applicable to spots in such plans), and our Political Broadcasting Guide, here.

The beginning of the LUR (or LUC for “lowest unit charge”) window in Iowa is but the first of a rapid many political windows that will be opening across the country as the presidential primaries move across the country. These windows open 45 days before the primary election (or caucus, in states where there is a caucus system that is open to the public for the selection of candidates) and 60 days before general elections. For the Presidential election, New Hampshire of course comes next, with their LUR window opening on December 28.   January will bring the opening of a slew of LUR windows for states with primaries and caucuses in late February and early March, including all of the Super Tuesday states. But it is important to remember that these are not the only LUR windows that broadcasters will have to observe in 2020.

In most states, there will be a separate primary window in which contenders for seats in the US House of Representatives will be selected. A third of the Senate is also up for election – meaning primaries in most of those states. Plus there will be primaries for state and local elections – and in some states municipal primaries and elections may be held at times different than those for the US Congress and even different from other state offices. For each of these primaries held at different times, there will be a window during which lowest until charges will apply, but only to those candidates running in the race to be decided in that particular election.

As we have noted before (see our articles here and here), state and local candidates do not need to be sold time by broadcast stations – the “reasonable access” rules don’t apply. But once a station decides to sell them advertising time, all of the other political rules apply – including lowest unit rates. The right to these rates cannot be waived by state and local candidates.

Even before the windows open in your state, your station needs to engage in significant planning to make sure that you are charging candidates the correct rates and observing all of the other political advertising rules. We’ve written about some of those issues here. Reasonable access and equal opportunities apply even outside the window. That means that federal candidates have a right to buy time on your stations, even outside the window. Once they buy time, the “no censorship” rules apply (see our articles here and here), meaning that you cannot censor a candidate’s message. Equal opportunities means that if you sell ads to one candidate, you must sell them to another. And if you have a candidate on the air outside of an exempt program (see our articles here and here on exempt programs), you must give the other candidate equal time if they request it within 7 days. That goes for on-air appearances of station employees who decide to run for office (see our articles herehere and here) and for commercial advertisers who appear in their own spots and become political candidates (see our article here).

Third party ads, from PACs, political parties and other advocacy groups will no doubt accompany the increase in candidate spending. These ads, while not entitled to lowest unit charges, nevertheless present their own unique challenges. As these ads can be edited or rejected based on their content, stations can theoretically have liability for their content if that content is defamatory or raises other legal issues (see our article here on dealing with challenges to the truth of these third-party political ads). Plus, the FCC’s recent decision about the public file obligations that go with third-party political ads (and other federal issue ads) provide yet another layer of complexity for broadcasters (see our articles here and here).

These are just some of the issues that stations will need to deal with as the election season kicks into high gear. So study up, get prepared, and do your best to cope with the upcoming onslaught of political advertising that may be coming your way.

RAUM is a tasty free reverb plug-in giveaway from Native Instruments

Delivered... Peter Kirn | Scene | Wed 18 Dec 2019 2:12 pm

NI continue their holiday tradition of giving away some software each year – and these little gems often prove something to use the whole year round.

RAUM is a versatile digital reverb from the developer. You only need an NI account to download it (which you can get for free). The comments are funny – seems this one is winning people over. It may be a victim of its own popularity, in that it seems NI’s servers are buckling a bit, but you can grab it via Native Access. Here’s a demo:

Okay, so why would you want another reverb on top of all the ones you have? The key here is that NI have combined multiple algorithms into a simple, clean interface, and packed in freeze and modulation. You can also use the predelay to turn this into a delay effect with feedback, depending on how you set the parameters. And predelay also has host tempo sync, so those effects can be clocked to your project tempo, too, for precise rhythms. With filters and feedback, you can also use this for quite some interesting flanging / comb filter effects.

It’s the sort of thing you might find in a clever Max or Reaktor patch, but now it’s here for use in any plug-in host. And as I often find with the freebies or “lite” editions, the simplicity of the UI is a draw, not a drawback – whereas many paid plug-ins do seem to have a load of knobs on them to convince you they’re worth your money.

The algorithms included:

A dense room called Grounded, which you can also turn to metallic and granular colors

A rich hall called Airy, also capable of a broad range of more experimental effects you might not normally expect of a hall

Cosmic, a more far-out ambient sound tool, which works really nicely with modulation

You should actually read the manual (seriously), as it not only includes detailed descriptions of parameters and tons of sound design tips, but also a great interview with Dr. Julian Parker. While NI had some significant downsizing and restructuring this year, Dr. Parker remains in charge of the software engineering teams, and those humans have powered some of the nicest-sounding instruments around. Jan Ola Korte wrote the documentation, which is why the manual is so eminently readable.

He also talks about how some familiar Lexicon, Alesis, and Eventide effects influenced some of the ideas in Raum, as well as its own more modern twist – using a big delay network with feedback to produce various resonances. That approach is gaining some traction as our computers acquire more powerful CPUs.

In fact, for all the talk lately about how “nothing is new,” this gives you a better idea of how the arc of sound design tech can span some decades. The approach has been around for a while, but now we have machines capable of performing it, and music producers whose sound tastes have grown more adventurous. The intervening years arguably have provided some perspective on how best to adapt the technique to an instrument.

This one looks like one I’ll use a lot – and might even inspire a few of us to mess around with delay networks and feedback in our own DIY creations.

Get your copy here:

Get Raum [NI Free Holiday Gifts]

The post RAUM is a tasty free reverb plug-in giveaway from Native Instruments appeared first on CDM Create Digital Music.

Krewella Release New Music Video for ‘Good on You’ – Broadway World

Delivered... | Scene | Wed 18 Dec 2019 9:00 am
Krewella Release New Music Video for 'Good on You'  Broadway World
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