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Indian E-music – The right mix of Indian Vibes… » 2020 » February » 21


Strokes is a powerful Euclidean drum sequencer, inspired by a real-life master drummer

Delivered... Peter Kirn | Scene | Fri 21 Feb 2020 9:49 pm

The latest pattern tool for Ableton Live and Max for Live is a source of complex rhythms, new ideas, and performance tools. And it all started with a good read about a real drummer.

The overload of social media and news means we live in a great time to slow down and read a book. And so even with a load of Max for Live devices out there, our story begins with some in-depth reading by developer John Howes unplugging from the screens and having a proper read.

Jaki Liebezeit: Life, Theory and Practice of a Master Drummer by Jono Podmore, published last month. Hardback and digital editions are still available on the crowd funding page.

The late Jaki Liebezeit was the drummer from German experimental rock band Can. (See obits in The Guardian, Rolling Stone.) Lovers of his work successfully crowd-funded the exhaustive bookJaki Liebezeit: Life, Theory and Practice of a Master Drummer.” (Well, you inspired me to get this, too, John!)

Part of why I love software in music is that it can mirror compositional ideas, the practice of musicianship. So sure enough, while these Max for Live devices aren’t instant “Jacki in a Can” (uh, sorry) – that rock band did spark some investigations of rhythm and pattern in software. And now you can reap the benefits, and see where it takes you.

Euclidean rhythms are nothing new – the basic idea is to spawn somewhat symmetrical patterns mathematically. It’s grown in popularity partly because these symmetries are commonly found in music as diverse as cumbia and Bulgarian folk music. Strokes builds on this idea by conceiving rhythm as a “flow controller” for rhythm – letting you “focus on the overall movement” of patterning in time. You get controls for length, “radius,” “strokes,” and “shift.”

Strokes.

It’s just a really elegant, visual interface for the technique. And by reducing everything to those four controls, there’s space to add channels – a full eight of them, so you can layer really complex polyrhythms.

Preset storage, recall, and morphing is available in both Strokes and Weights.

There are loads of other features, too:

  • On-the-fly controls, including variations and fills (so this is great for performance)
  • Snapshots – store, recall, and crossfade between four, and then create 12 automatic variations
  • Link for repetitive beats, unlink for polyrhythms
  • Pattern automation and modulation, plus MIDI output (which you can then route straight into Ableton Live for later editing and arrangement)
Clock adjustments.

You can also now add accents and swing, and create dotted and triplet rhythms with a custom clock rate selector.

And then there’s Stroke’s companion, Weights. The notion of weights is using the same technique for modulation – 4 buses you can route anywhere, complementing Strokes’ 8 channels of patterns.

Route to a Live parameter, or a VST plug-in – whatever. Inside Weights, you can also shape the modulation signal, modular synthesis fashion – using slew limiters and delays, for instance. And you can again work with snapshots and morphing and use automation and modulation with that.

Modulation routing in Weights.

In other words, these two tools let you turn Ableton Live into a semi-modular powerhouse for exploring polyrhythms, both in musical note/percussion patterns and modulation.

So, uh… whoa.

https://www.congburn.co.uk/strokes

Strokes is GBP 10 to download. Weights is a GBP 10 add-on; it requires Strokes, so think of it as an expansion pack.

Strokes is GBP 10 to download. Weights is a GBP 10 add-on; it requires Strokes, so think of it as an expansion pack.

If you just want a demo, though, you can grab the simple ‘alpha’ version and try that for free.

Really brilliant stuff – and John has a whole independent Bandcamp label to check out, too, while you’re at it. People making fascinating music and fascinating music tools – something about the times we live in.

The post Strokes is a powerful Euclidean drum sequencer, inspired by a real-life master drummer appeared first on CDM Create Digital Music.

THE EDC LAS VEGAS 2020 LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Fri 21 Feb 2020 7:10 pm
The Chainsmokers, Tiësto, David Guetta, Alesso, Alison Wonderland, Boris Brejcha, DJ Snake, Seven Lions, Carl Cox, Andrew Bayer, Richie Hawtin and more!

FCC Adopts Strict Processing Policies on Requests for Modification of TV Markets for Cable and Satellite Carriage

Delivered... David Oxenford | Scene | Fri 21 Feb 2020 5:45 pm

In a decision released this week, the FCC reiterated a policy of being very tough on petitions to add communities to television markets to change the stations that are considered to be part of the market for cable and satellite carriage purposes.  This strict compliance policy was set out in another case decided last year.  The Commission will dismiss a request for a market modification if all the evidentiary requirements set out by the FCC are not met in the initial filing.  While these requests can be refiled at a later date with the missing information, such a dismissal will delay the processing of any request.

Cable market modifications of the type addressed in this filing have become more common in recent years, at least partially because of a change in the Communications Act enacted by Congress in 2014 (see our article here). In that change, Congress said that , among the statutory factors that must be considered in defining television markets, the FCC must examine whether the communities that are proposed to be added would promote access to in-state television stations.  Prior to the adoption of the revised statute, Congress was concerned that there were too many communities that were included in Nielsen markets where the programming originated from stations located in another state, at one point asking that the FCC study the issue (see our article here).  In these instances, some in Congress believed that residents were deprived of public service and news information as to events and issues in their own state.

Congress set out the following factors to be considered in any analysis of a market modification:

  • whether the station, or other stations located in the same area—(a) have been historically carried on the cable system or systems within such community; and (b) have been historically carried on the satellite carrier or carriers serving such community;
  • whether the television station provides coverage or other local service to such community;
  • whether modifying the local market of the television station would promote consumers’ access to television broadcast station signals that originate in their State of residence;
  • whether any other television station that is eligible to be carried by a satellite carrier in such community in fulfillment of the requirements of this section provides news coverage of issues of concern to such community or provides carriage or coverage of sporting and other events of interest to the community; and
  • evidence of viewing patterns in households that subscribe and do not subscribe to the services offered by multichannel video programming distributors within the areas served by such multichannel video programming distributors in such community.

To address these factors, the FCC requires very specific evidence, set out in seven categories.  Unless evidence is provided as to each of the following matters (or a waiver is sought with a showing as to why it is not possible to provide such evidence), under these recent precedents, the request will be denied.  The evidentiary showings required are:

  • A map or maps illustrating the relevant community locations and geographic features, station transmitter sites, cable system headend or satellite carrier local receive facility locations, terrain features that would affect station reception, mileage between the community and the television station transmitter site, transportation routes and any other evidence contributing to the scope of the market;
  • Noise-limited service contour maps delineating the station’s technical service area and showing the location of the cable system headends or satellite carrier local receive facilities and communities in relation to the service areas;
  • Available data on shopping and labor patterns in the local market;
  • Television station programming information derived from station logs or the local edition of the television guide;
  • Cable system or satellite carrier channel line-up cards or other exhibits establishing historic carriage, such as television guide listings;
  • Published audience data for the relevant station showing its average all day audience (i.e., the reported audience averaged over Sunday-Saturday, 7 a.m.-1 a.m., or an equivalent time period) for both multichannel video programming distributor (MVPD) and non-MVPD households or other specific audience information, such as station advertising and sales data or viewer contribution records; and
  • If applicable, a statement that the station is licensed to a community within the same state as the relevant community.

While the request in this case was filed by a county government, requests can also come from stations that want to be carried on MVPDs in communities that are now considered to be outside of their markets, or by cable or satellite providers who want a station to be considered local so that they need not pay distant-signal copyright fees.  No matter who files the market modification request, these cases make clear that the request must be very detailed for the Commission to process it.

Some of the requested information – such as information about non-MVPD household viewing patterns – can be difficult to obtain, especially in counties where there is little over-the-air viewing.  Other information may require an archival dig into historical records to find the history of TV carriage in a market.  These cases make clear that the effort must be made, or the request will be denied.

RAILBIRD FESTIVAL 2020 TICKETS JUST WENT ON SALE

Delivered... Spacelab - Independent Music and Media | Scene | Fri 21 Feb 2020 4:00 pm
They're available as General Admisson and VIP tickets.

Sightless Pit: Grave of a Dog review – witchy trio unleash hell

Delivered... Ben Beaumont-Thomas | Scene | Fri 21 Feb 2020 11:00 am

(Thrill Jockey)
The underground supergroup bin their guitars in favour of obscure sound-making – and conjure a gloriously hellish mood

‘When shall we three meet again in thunder, lightning or in rain?” That’s what you can imagine this decidedly witchy trio saying to each other after finishing this study in brutality. They are an underground supergroup of Kristin Hayter (AKA doom-laden torch singer Lingua Ignota), Lee Buford (drummer from the utterly brilliant outsider metal duo the Body) and Dylan Walker (vocalist from the equally brilliant grindcore band Full of Hell).

The trio subvert expectations by doing away with guitars and live drums altogether, instead using drum machines, samples and more obscure means to scorch the earth. As ever, Hayter sound like she’s delivering a benediction in a church on fire, and she’s trying nobly to withstand the flames. When the group’s productions pare back to quivering ambient drift and pulsations from far below, on Violent Rain and Love Is Dead, All Love Is Dead, she seems to regard the wreckage around her sadly. Walker, meanwhile, is the sound of the violence that got us here, his unhinged howl often fed through a mesh of static.

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The Orielles: the hotly tipped band leaving Halifax for the stars

Delivered... Fergal Kinney | Scene | Fri 21 Feb 2020 9:00 am

Energised by gong baths and Korean dance music, the northern band are topping playlists with their cosmic psychedelia

Twenty minutes into the gong bath, Orielles vocalist and bassist Esmé Hand-Halford knew that she was ready to do her vocal take. Stockport’s Eve Studios – a shrine containing BBC Radiophonic Workshop memorabilia, original rugs from the 1951 Festival of Britain and Europe’s largest collection of vintage BBC equipment – became, she says, “like a commune” as the mellow, relaxing drone reverberated through the room.

The Orielles are a Halifax trio aged between 21 and 24: Esmé; her sister, Sidonie, on drums; and guitarist Henry Carlyle-Wade. They get heavy rotation on 6Music and are as in demand for their cosmic remixes for other bands as they are for their high-energy festival sets. Their penchant for a notably retro vision of the future means they are the latest exponents of the kind of woozy psychedelia played by Broadcast and Stereolab – bands who remembered the future as if it were yesterday.

Disco Volador is out on 28 February. The band are at Riverside Newcastle on 25 February, then touring until 6 March. They play the BBC Radio 6 Music Festival on 7 March at the Roundhouse, London

Disco Volador is the band’s second album, not their debut. This was corrected on 21 February 2020.

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