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

Kijimi, key planet in new Star Wars flick, is named after the synthesizer

Delivered... Peter Kirn | Scene | Sat 21 Dec 2019 2:35 pm

J.J. Abrams, mega-nerd – not only is the Star Wars writer/director a scifi fan, but synth fan, too. No spoilers here, but his love of a certain synthesizer comes out in Rise of Skywalker‘s script.

Kijimi is the lush polysynth from Black Corporation, also makers of Deckard’s Dream (the Yamaha CS-70 homage) and assorted modules. Kijimi, the creators say, doesn’t mean anything. It’s just a name that struck them, and one originating in Japan, the country in which the company is headquartered.

But J.J. apparently liked the name, too. The Star Wars boss is a known Black Corporation customer himself – you can spot him in a photo posing on the balcony of Black’s Shibuya, Tokyo offices. (Hey, wouldn’t you blow your Disney money on synths if you were in J.J.’s position? Oh, wait – it was a gift. Man, it’s good to be the king.)

Here’s the next round of nerdy meta-references – hang on. So the Kijimi is based loosely on the rare 1970s polysynth, the RSF Polykobol. Fans of Battlestar Galactica will immediately recognize Kobol as the legendary ancestral home of humanity, sought by the exiled fleet of the surviving colonists. (Sadly, much like J.J. buying his Kijimi before you could, the Cylons got to Kobol first. Uh… spoilers, sorry. From 1978, though.) So the French synth makers named their synth after the planet.

J.J. just turned the tables. While synths have been named for spacecraft before – I believe including the Moog Voyager – now the space franchise takes a name from synths. Kijimi isn’t just a passing reference, either – it’s evidently (no spoilers) a prominent planetary setting in The Rise of Skywalker. Abrams is co-credited with the story and screenplay, so he gets both the synth and its placement forever enshrined in Star Wars canon.

A Reddit user potted the reference even before the film came out, let alone before Black Corp acknowledged the connection:

I would include a photo of the planet Kijimi, but I don’t have an official press pack for Star Wars, and Disney lawyers frighten me. I will be going to see the movie, though – John Williams inspired me as a kid that being a composer was cool, and Star Wars was possibly the first movie I ever saw, in greatly shortened form on my parents’ sound super 8 film projector.

All I want for Christmas, meanwhile, is a Kijimi – I visited Black in Tokyo this fall, and it’s just a splendid splurge instrument.

So none of this story makes me jealous, in regards to either synth or Star Wars. Why, does it make you jealous? No. We are cold, stoic unfeeling walls, definitely not in any way responding to any element of this story. Good.

Full-blown Kijimi costs US$3749, but if you’re willing to put together the (elaborate) kit, that drops the price way down to US$999. So basically, don’t subscribe to Disney+, and it’s yours. You can pirate th — mmm..–dskklsggggrrrh — mmmm, my throat — jeez, Disney lawyers can even do force chokes?! (As if I’m not going to the film and to Galaxy’s Edge and seeing twenty more Marvel things in theaters this year. Uh-huh.)

The post Kijimi, key planet in new Star Wars flick, is named after the synthesizer appeared first on CDM Create Digital Music.

In Japan, the promise of unique, more organic audiovisual aesthetics

Delivered... Peter Kirn | Scene | Fri 20 Dec 2019 7:26 pm

At last week’s MUTEK.jp festival in Tokyo, amidst familiar touring works, you could spot a subplot – returning to color and fluid expression in live AV sets.

MUTEK.jp, this year completing its fourth edition, is one of the younger satellites of the long-running MUTEK Montreal. That festival brand now extends from the Arab Emirates to Argentina. And it brings with it an aesthetic statement – one that remains popular, judging by the packed shows last week in Tokyo. Even in bigger venues, audiences for those acts were frequently packed shoulder to shoulder, Tokyo metro style. These satellites are independently organized, but if they act as a funnel for the core aesthetics of MUTEK Montreal over the years, it appears that audiences want that. (Not everyone can book a flight to Canada just to see a work.) And this long-term patronage (with other festivals) has helped works like Robert Henke’s Lumiere or Hiroaki Umeda’s choreography or Myriam Bleau’s instruments to see extensive refinement and iteration.

That said, I was peering around for what might be evidence of some new aesthetic directions. So, we’ve had a lot of hard-edged geometries and dazzling fog-and-laser effects and self-referential digital work. But paying particular attention to the local Japanese visualists, there was a sense of something new, more fluid, more colorful, and more organic – perhaps a painterly wing of the current visual scene.

For some examples:

Akiko Nakayama is a painter, making performative fantasies in liquid swirls of color. It’s worth mentioning that she’s a Millennial, in that there is unquestionably some sympathy to the Joshua Light Show approach of the 1960s. I think she has found a uniquely honed composition, though. It’s in line with a new generation that is taking a post-digital approach to physical media.

Line Katcho‘s performance (aka La Hyèna) was one of the most stunning, to return to one of the Quebecois artists. She filled the cinematic space with something that demanded a screen – big washes of digital texture that seemed to bloom like paint. There were spiderly webs of interconnected particles, whispy ghosts of geometries. It’s abstract, but suggesting a medium that is alive and evolving, rather than frozen in time.

Multidisciplinary collective nor represents the kind of mixed medium, highly technical collaboration that Japan seems to foster especially well. Their work dyebirth with its vivid colors (evidently scoring the sound) was another indication that 1960s optical-chemical light show techniques can be reimagined for our age now.

There were sonic pursuits of the organic, too. Yosi Horikawa reflects deeply on found sound and field recording. It’s compelling formally, too, percussive, with loads of space – breaking into rhythms, then freezing and pausing in space. To my personal tastes, the abstract moments are the most compelling, actually – I find myself wishing the intros were extended into the full performance. But there’s something compelling about the approach to sound.

Red Bull Music have done an extensive documentary (Japanese with English subtitles):


There were a number of things that felt obviously self-referential in regards to Japanese culture – video games, check, anime, check, and none more so than the appearance of Bonsai.

But Masashi Hirao has the chops to back this up. He’s a rare young apprentice to a Bonsai master, in an art form that is rapidly diminishing in number of practitioners. For MUTEK Tokyo, he made a “live performance” of Bonsai, alongside talented producer Saskiatokyo (who was wisely picked up by DJ Kero’s label Detroit Underground). Here’s a Japanese-only video on his practice with plants:

This is not only a Japanese fascination. I’ve covered Leslie Garcia’s project for plant communication, to cite a Mexican example, and her Interspecifics collective continues to explore plant-human relations.

There’s more to say about MUTEK.jp and some of what’s up and coming in the Japanese music scene, of course – I hope to write that up over the holidays. And we also have yet to share some of what’s going on with the ongoing AI Labs hosted by United Curators, for which I was a facilitator. More on that soon.

But at the risk of highlighting mostly the opening of the festival last week, I think it’s always worth noting the material that is perhaps lesser-known – and which suggests a direction.

The post In Japan, the promise of unique, more organic audiovisual aesthetics appeared first on CDM Create Digital Music.


Delivered... Spacelab - Independent Music and Media | Scene | Fri 20 Dec 2019 7:00 pm
Adam Beyer, Four Tet, Maceo Plex, Seth Troxler and more!

Sault: 5 / 7 review – intriguing grooves from a mystery funk machine

Delivered... Alexis Petridis | Scene | Fri 20 Dec 2019 12:00 pm

(Forever Living Originals)
No one seems to know who they are, but one thing is sure: Sault make hooky, dubby, funky music with echoes of ESG and Can

Mystery is a rare commodity in rock and pop these days. The internet has made investigative journalists of us all, and an artist who expends a lot of effort creating an enigmatic aura will almost invariably find themselves revealed online. So hats off to Sault, who managed to release two albums in 2019 – titled 5 and 7 – without anyone managing to conclusively solve the puzzle of who was behind them.

It was not for want of trying. Some people suggested the involvement of a London-based musician called Dean Josiah, whose CV boasts co-writing and production credits for Michael Kiwanuka, the Saturdays and Little Simz – the last of whom raved about Sault on social media. Others have posited that British soul singer Cleo Sol and Chicago-based rapper and sometime Kanye West collaborator Kid Sister – both signed to Sault’s label, Forever Living Originals – are the vocalists. But no one has confirmed or denied anything.

Continue reading...

Guardian albums and tracks of 2019: how our writers voted

Delivered... Electronic music | The Guardian | Scene | Fri 20 Dec 2019 7:00 am

We’ve announced our favourite releases of the year – now the Guardian’s music critics reveal their top picks of 2019

Nick Cave and the Bad Seeds – Ghosteen
Michael Kiwanuka – Kiwanuka
Sturgill Simpson – Sound and Fury
Billie Eilish – When We All Fall Asleep, Where Do We Go?
Slowthai – Nothing Great About Britain
Sharon Van Etten – Remind Me Tomorrow
Fontaines DC – Dogrel
Sault – 5
Tyler, the Creator – Igor
Dave – Psychodrama
Weyes Blood – Titanic Rising
Nilüfer Yanya – Miss Universe
Chemical Brothers – No Geography
Brittany Howard – Jaime
Little Simz – Grey Area
Jamila Woods – Legacy! Legacy!
International Teachers of Pop – International Teachers of Pop
Angel Olsen – All Mirrors
Anderson .Paak – Ventura
These New Puritans – Inside the Rose

Continue reading...


Delivered... Spacelab - Independent Music and Media | Scene | Thu 19 Dec 2019 9:30 pm
The Lumineers, Lil Wayne, The Avett Brothers, Three 6 Mafia, Leon Bridges, Lindsey Buckingham and Portugal. The Man all top the list.


Delivered... Spacelab - Independent Music and Media | Scene | Thu 19 Dec 2019 9:30 pm
Adam Beyer, Cirez D, Amelie Lens, ANNA, Camelphat, Carl Cox, Nicole Moudaber, Richie Hawtin and more!

Creative work by ANTIVJ gets ripped off in new Microsoft Xbox launch

Delivered... Peter Kirn | Scene | Thu 19 Dec 2019 6:30 pm

Laws aside, is this ethical? The launch video for Microsoft’s Xbox Series X console “borrows” from work by ANTIVJ (and a ground-breaking indie game, too).

It’s becoming all too commonplace: big interests see open season on creative work on the Internet. It’s a little ironic, in that the Internet also makes it uniquely common to expose anyone ripping off artists. Now it’s down to whether these giants respond.

The visualist collective ANTIVJ point us to this one. It’s a (superior) 2015 work called DRY LIGHTS, directed by Xavier Chassaing. It was no small piece of work, either – Xavier single-handedly built the technique from scratch, collaborating with a compositor and with long-running ANTIVJ composer Thomas Vaquié.

Watch in split screen (lower quality):

And here are the source videos:

Sure, it’s just some sparkly lights on a landscape on one level, but it’s a very specific technique that made that possible – and gaming hardware that we invest in for the sole purpose of accessing original creative work.

It’s not clear whether Microsoft did this work in-house or contracted for visuals. But whoever produced the Xbox video failed sort of twice over here – not only did they rip off someone else’s work, but they could arguably have gotten more impactful results by simply hiring the original artistic team.

And that’s the double whammy of creative exploitation in any of its forms: not only does it hurt livelihoods and fail to support the people creating the ideas, but the copy-of-a-copy phenomenon invariably results in poorer quality.

I was alerted by ANTIVJ to the visual ripoff first – which means we can verify that Xavier, Nicolas, and company didn’t get contacted by Microsoft. They attempted to contact the company, Nico tells CDM, and as of today have gotten no response.

But I was equally shocked by the use of audio by Alan Watts. That is clearly “inspired” by the same idea in the launch of the acclaimed indie game Everything by David O’Reilly. That use was poetic, even tear-jerking by comparison. O’Reilly even produced a short film version of the same, which I saw at the international film festival Berlinale.

Adding to the faux pas here, not only is Everything one of the more celebrated indie games of the past decade, but its launch platform was the PS4, for crying out loud.

So, let’s get this straight.

Microsoft is touting its platform while simultaneously ripping off visuals familiar to anyone who has followed bleeding-edge 3D art, and ripping off a (PS4 first!) game familiar to anyone who has followed indie gaming.

This is not a trivial point, as Microsoft is a company that needs creative people. The Xbox platform (and Windows gaming, beyond it) relies on indie developers. Windows and Microsoft services platforms rely on creatives. Our livelihood is part of their livelihood – when we get paid, we spend a lot of that money on their products.

So this is beyond disappointing – it’s alarming. And Microsoft should respond in a way that would make us believe they’re ready to support artists, not just ape their work to sell a new piece of hardware.

I believe they could do that. I’d love to see the Xbox be a platform for more original work, for original digital art. Someone screwed up here, but I’m not here just to say we should shout at Microsoft. In an ideal world, the companies that make the platforms we use to make stuff would also build platforms where creative work is respected.

Thanks to ANTIVJ for sending this our way and – other instances of this welcome, too.

If Microsoft does respond, I’ll keep you posted.


The post Creative work by ANTIVJ gets ripped off in new Microsoft Xbox launch appeared first on CDM Create Digital Music.

Minsk Nightlife Report: A Look At The Growing Techno Scene In “Europe’s Last Dictatorship”

Delivered... adminfellows | Scene | Thu 19 Dec 2019 5:32 pm

A new Belarusian underground is taking form. Despite limited resources and almost zero tourism, Minsk, Belarus has become a party haven, building an otherworldly and in-demand electronic music scene in the span of just a few years. On weekends, clubs like OK16, Lo-Fi Social Club and HIDE draw seemingly endless crowds of dancers. Events bend genre, time and place, using Minsk’s wealth of abandoned...


January Regulatory Dates for Broadcasters – Quarterly Issues/Programs Lists, Children’s Television Annual Report, EEO, License Renewal, Political Rate Windows, FM Auction Dates and More

Delivered... David Oxenford | Scene | Thu 19 Dec 2019 5:24 pm

With many Americans using the holiday season to rest and recharge, broadcasters should do the same but not forget that January is a busy month for complying with several important regulatory deadlines for broadcast stations.  These include dates that regularly occur for broadcasters, as well as some unique to this month.  In fact, with the start of the lowest unit rate windows for primaries and caucuses in many states, January is a very busy regulatory month.  So don’t head off to Grandma’s house without making sure that you have all of your regulatory obligations under control.

One date applicable to all full-power stations is the requirement that, by Friday, January 10, 2020, all commercial and noncommercial radio and television stations must upload to their online public file their quarterly issues/programs list for the period covering October 1 – December 31, 2019.  The issues/programs list demonstrates the station’s “most significant treatment of community issues” during the three-month period covered by each quarterly report.  We wrote about the importance of these reports many times (see, for instance, our posts here and here).  With all public files now online, FCC staff, viewers or listeners, or anyone with an internet connection can easily look at your public file, see when you uploaded your Quarterly Report, and review the contents of it.  In the current renewal cycle, the FCC has issued two fines of $15,000 each to stations that did not bother with the preparation of these lists (see our posts here and here on those fines).  In past years, the FCC has shown a willingness to fine stations or hold up their license renewals or both (see here and here) over public file issues where there was some but not complete compliance with the obligations to retain these issues/programs lists for the entire renewal term.  For a short video on the basics of the quarterly issues/programs list and the online public inspection file, see here.

On January 1, 2020 and January 16, 2020, radio stations in Arkansas, Louisiana and Mississippi must air pre-filing announcements tied to their license renewal filing date of February 3, 2020.  Radio stations in Alabama and Georgia must air post-filing announcements about their license renewals that were due by December 2, 2019.  Stations are required to air pre-filing announcements in the two months prior to the month in which their license renewal application is due, and to air post-filing announcements in the three months after their renewal application is due.

One of the biggest changes of the last year to the broadcast regulatory landscape is the modification of the programming and reporting requirements for children’s television programming.  Stations are no longer required to submit quarterly reports documenting their compliance with the children’s TV rules.  Instead, reporting will now be done annually, and stations must file their first annual report—FCC Form 2100, Schedule H—electronically through LMS by Thursday, January 30, 2020.  For a deeper look at how to comply with the new programming and reporting changes, see our posts here, here, here, and here.  We are still waiting for further guidance from the FCC about the quarterly certifications regarding compliance with commercial limits and websites during children’s programming.  Unless the FCC staff issues guidance to the contrary, stations should probably plan on uploading those certifications by January 10, 2020.

By Friday, January 31, 2020, commercial and noncommercial stations must complete and submit through LMS their Biennial Ownership Report (Form 323 for commercial stations; Form 323-E for noncommercial stations).  The reports were originally due by December 1, 2019, but the FCC extended the deadline to the end of January to update LMS.  The information in the report needs to reflect the licensee’s ownership as of October 1, 2019.  Don’t wait until the last minute to file these reports, as there can be technical slowdowns in the LMS system when there are major filing dates.  The January 31 deadline is already an extended one and unlikely to be further extended, so make sure that you meet the FCC’s deadline.

The repacking of the broadcast TV band, made necessary by the FCC’s broadcast incentive auction, continues across the country.  Stations assigned to Phase 7 must complete the transition to their new channels by January 17, 2020.  One day later, on January 18, 2020, stations assigned to Phase 8 of the repack may begin testing and operating on their new channels.

As we wrote earlier this week, Presidential primaries and caucuses are right around the corner, including the election-heavy day in March often dubbed Super Tuesday.  This means stations in more than two dozen states will soon find themselves within the 45-day primary/caucus political window, which brings with it special obligations like lowest unit rates for candidates.  With lowest unit charge windows opening on December 20, 2019 (Iowa), December 28, 2019 (New Hampshire), January 8, 2020 (Nevada), January 15, 2020 (South Carolina), January 18, 2020 (Alabama, American Samoa, Arkansas, California, Colorado, Maine, Massachusetts, Minnesota, North Carolina, Oklahoma, Tennessee, Texas, Utah, Vermont, and Virginia), January 23, 2020 (Puerto Rico), January 25, 2020 (Hawaii, Idaho, Michigan, Mississippi, Missouri, North Dakota, and Washington State), January 27, 2020 (U.S. Virgin Islands and West Virginia), and January 29, 2020 (Guam, N. Mariana Islands and Wyoming), stations should plan ahead to be sure station employees understand the requirements that go along with political advertising, including lowest unit charge and the expanded public file disclosure obligations issued by the FCC in mid-October.  For more guidance on navigating election season, see our Political Broadcasting Guide for Broadcasters.

Speaking of the expanded public file disclosures, earlier this month, we wrote about the FCC seeking comment on a petition for reconsideration of those new requirements filed by the National Association of Broadcasters and a group of TV station owners.  The petition asks the FCC to reconsider imposing the political issue ad disclosure rules that it clarified following complaints against 11 TV stations by two public interest groups.  The clarified rules require broadcasters who accept ads on federal issues of national importance to disclose in their public file each and every federal issue and federal candidate mentioned in the ad, many times requiring the identification of multiple candidates and issues for each ad.  Additionally, broadcasters must now specifically reach out to the organization sponsoring an issue ad or the agency who placed the ad for the names of any additional officers or directors, if the organization only submitted one name as constituting the entire board in its initial disclosure.  Comments in this proceeding are due by Monday, December 30, 2019, with the FCC just yesterday issuing an order extending the reply comments deadline to January 28, 2020.

Those looking to file for one of the 130 new FM channels due to be auctioned off by the FCC in April 2020 can begin to file the “short-form” applications needed to participate in the auction in the window opening on January 29 and closing at 6 PM Eastern Time on February 11.  We wrote about the upcoming auction here and here.  The FCC will impose a filing freeze on all FM minor changes during this short-form window, so plan accordingly if you need to file a minor change application in the near future.

Commercial and noncommercial (note that special rules apply to public radio) stations that stream music programming must pay the minimum fee to SoundExchange by Friday, January 31, 2020.  For commercial stations, the minimum fee is $500 per station/channel, not to exceed $50,000.  For noncommercial stations, the minimum fee is $500 per station/channel, which covers the first 159,140 aggregate tuning hours per month.  For more information on the minimum fee, including how to pay it, and other 2020 rate information, visit the SoundExchange website here.

Looking ahead on the calendar to early February, we mentioned above the February 3 license renewal filing deadline for radio stations (including LPFMs) in Arkansas, Louisiana and Mississippi.  Station employment units (a station employment unit is a station or group of commonly owned stations in the same market that share at least one employee) with five or more full-time employees in several states have EEO reports due Saturday, February 1, 2020.  Stations must place their EEO report in their public file on the anniversary of their license renewal filing deadline.  So stations in Kansas, Nebraska, New Jersey, New York, Arkansas, Louisiana, Mississippi and Oklahoma must have the reports in their files by Saturday, February 1, 2020.

As always, we have just highlighted some of the upcoming regulatory deadlines for January.  Check with your own station’s counsel for more information about deadlines that may apply to your operation.

Free reverb: Arturia has a holiday giveaway of their take on the classic EMT-140 plate

Delivered... Peter Kirn | Scene | Thu 19 Dec 2019 4:36 pm

I’m dreaming of a reverberant Christmas / with EMT plates I used to know / where my yule log’s combustible / and pre-delays now adjustable / to tweak plug-ins in the snow…

Uh, yes, as if it weren’t enough that Native Instruments has a giveaway on their new Raum plug-in, Arturia this week also announced they’re giving away the new REV Plate-140 if you download by Christmas day (December 25). And while I put some hard-working DSP developers at risk by saying this, the combination of these two plug-ins covers a whole lot of bases in reverb generally.

The original. You’ll need some … friends to lift this. Also, you may want to sell your house.

Let’s talk about this plate, because the EMT 140 is sought-after in production because it is fairly magical. The original is a late 1950s/1960s West German invention that was a hallmark in studio production, as it has a specific, lush “gloss” it adds to everything from vocals to percussion to (nowadays) stuff like synths, too. It’s very possible you already have a model of it or an impulse file for it (for instance, there are 140 impulses in the convolution reverb in Ableton Live). But even if you do, adding another model could be worthwhile – there are a lot of variations of this, and Arturia has added some of their own, very useful, twists.

The democratic power of computation seems a very good thing in this case. The original cost as much as a house and weighed around the same as four people, fascinating engineering as it was. Now it’s some free software. And that’s good, because the studio system – well, let’s just say Phil Spector was not the nicest man, bless his heart.

Incidentally, “plate reverb” really does mean a physical, metal plate – the vintage plate reverb is genuinely not only an “analog” invention but an electro-acoustic, physical device.

Arturia’s version looks promising. (I just downloaded it.) They’ve modeled a vacuum tube preamp, so this is best thought of as the original EMT. There’s now a high pass filter to apply before the reverb processing, which is essential so that you don’t make too much low-end mud in your mix.

And the Arturia approach here as in a lot of their instruments tends to be a software hybrid approach – not slavishly recreating the old gear, but combining accurate models of portions of its sound with new features. The new features could be what drive you to add another EMT to your rig – and for those new to this device, they mean you can simply treat it as a modern sound design tool rather than worrying about records people made decade ago.

So in this case, that means:

  • An adjustable predelay, which is useful for creating space in the mix (along with that highpass filter for frequency space)
  • Integrated chorus, which is just, well, cool and useful (I waxed poetic about Ableton having added this to their reverb since the start)
  • Post-reverb EQ, so you can shape the results right in the mix (again, something in Ableton’s often-overlooked default reverb)
  • Modulation

Plus you get three different EMT models to play around with, and that vacuum preamp, as well as the necessary time, stereo width, and blend controls. This is 99 bucks after Christmas, so now is the time to go grab it.

There’s an advantage to this being a free plug-in. If you get all your friends and collaborators to grab it right now, you have a plug-in you can use on tracks you’re sharing. Because it runs in AU, AAX, and VST, you can run it more or less elsewhere (well, except natively on Linux, but – let’s push developers on that in 2020). And because the EQ and chorus are built-in, you can store those settings as your own presets, too (which is harder if you combine multiple plug-ins).

You know the deal: go to the website, login, head to the download page to indicate you want this, then open Arturia Software Center and it should appear. If you’re new to Arturia’s stuff, yes, this requires free registration and downloading another tool. But ASC these days is reliable, so fear not.


Then there’s an extensive video tutorial, but – I like to read the manual.

Oh yeah, and this vintage plate reverb is very different from the delay network approach of the NI plug-in I wrote up yesterday – but both have tools to tame the results in your mix. Taking some time with the two over the holidays would be a good exercise for newcomers and advanced users alike.

Because, I mean, I don’t know which holidays you intend to celebrate, but for me some cozy times with reverbs and the people I love pretty much equal happiness.

And speaking of great ways to pass the time in winter (or summer, southern hemisphere folks who are now at the beach), this is one of a number of fascinating histories of the EMT and plate reverb (plus its successor, the digital EMT 250) :

EMT is no more, but it’s one of the many audio companies to call Berlin home; see the history of Elektro-Mess-Technik. That’ll be 1930s Berlin, though, so let’s not talk about it too much.

Also this week:

The post Free reverb: Arturia has a holiday giveaway of their take on the classic EMT-140 plate appeared first on CDM Create Digital Music.

Meet Beta Librae

Delivered... Derek Opperman | Scene | Thu 19 Dec 2019 3:32 pm

The post Meet Beta Librae appeared first on Telekom Electronic Beats.

Minsk Nightlife Report: A Look At The Growing Techno Scene In “Europe’s Last Dictatorship”

Delivered... Derek Opperman | Scene | Thu 19 Dec 2019 3:09 pm

The post Minsk Nightlife Report: A Look At The Growing Techno Scene In “Europe’s Last Dictatorship” appeared first on Telekom Electronic Beats.

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

Delivered... | Scene | Thu 19 Dec 2019 1:34 am
Krewella Release New Music Video for 'Good on You'  Broadway World

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:


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

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