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

Exclusive: a gig and a half of finely-crafted Riemann techno sounds, free for 48 hours

Delivered... Peter Kirn | Scene | Tue 31 Mar 2020 7:20 pm

It’s hard to get that deep, crowded club feeling right now in isolation. So here from our friend Florian Meindl and Riemann Kollektion is a big boost – and a master class in techno craft.

Honestly, I’ve said this to folks before, but I’ll say it again – it really says something to me about Riemann and Florian that these demo songs bang harder than most released music. It’s almost worth just browsing this 1.4GB collection of 24-bit sounds just to understand a bit about how his heard works. (I’ve been browsing through.)

So, for 48 hours, just for CDM, Florian has swapped over the price of one of his best sound packs – Best of Riemann 2019 Techno (24bit WAV – Loops & Oneshots). (Ah, I remember 2019 … so … fondly now …)

There’s now really no reason not to get started. Ableton has a free 90-day trial of Live Suite, just announced, which even includes Max for Live. (It’s normally 30 days.)


Then you can read the free guides I wrote for Riemann Kollektion to get going:

Tutorial: Unlock hidden sound tricks in Ableton Live 10’s effects

Tutorial: Super Fast Arrangement in Ableton Live 10

Max for Live: the techno producers’ guide

Plus if you have some hardware – even some stompboxes will do – you should also check out Florian’s approach to analog effect chains in that tutorial.

Then stock up on the samples with the free Best of Riemann pack. And sorted.

For some more inspiration, here’s a bit of how Florian works live – very hardware focused, but something you could apply to other setups, as well, in terms of raw musicianship and sound:

The post Exclusive: a gig and a half of finely-crafted Riemann techno sounds, free for 48 hours appeared first on CDM Create Digital Music.

The Top 7 Mixes of March 2020

Delivered... Caroline Whiteley | Scene | Tue 31 Mar 2020 3:39 pm

In this column, we shine a light on seven mixes that deserve your attention this month. From superstar DJs to underground operators, from peak-time heat to home-listening treats, there’s something for all ears. With nightlife on pause until further notice, March’s roundup looks set to be the first in a series of quarantine mixes–in fact, with the world’s DJs now confined to their bedrooms...


The month’s best mixes: industrial dancehall, digital anxiety and ‘the Techno Columbo’

Delivered... Tayyab Amin | Scene | Tue 31 Mar 2020 1:52 pm

In the final instalment of our monthly mix column, Tayyab Amin listens to Brazil’s Badsista, Ireland’s Sunil Sharpe and texture obsessive Beta Librae

Related: The month's best mixes: romantic grime, reverberant birdsong and more

Continue reading...

Endlesss is a musical jam app; Imogen Heap, KiNK, Matt Black, more join a stream today

Delivered... Peter Kirn | Artists,Scene | Tue 31 Mar 2020 9:51 am

If you’re bored of just video chatting with Zoom, Houseparty, and the like, Endlesss might be the musical switch-up you need. And some big personalities are joining in a day long stream today to give you a taste of what it’s about.

First, Endlesss – it’s an iOS-only (for now) collaborative music creation app. The idea is, you get started right away building loops, using built-in instruments, playable pads, and add-on effects. That makes it accessible to first-timers – so it could be ideal for introducing your friends and family to some music jamming now, especially as an antidote to grainy underlit camera footage of all of us in sweatpants.

Plus, hey, slick visuals, for things like this:

Some apps might just dead-end there. But if you are a musician, you can push Endlesss further. There’s an all-critical microphone input, meaning skilled vocalists and rappers and beatboxers can blow this thing away. Instrument and effects packs go fairly deep. And for musicians, you can connect via Ableton Link, export materials (even as stems, at last), and choose custom key, scale, tempo, time signature and quantization.

Yeah, it’s almost like this thing was made by real musicians. And, of course, it was – Tim Exile has led the Endlesss team; he’s known to us as the ultra-virtuoso mega-geek behind Reaktor tools such as The Mouth and Flesh. And that sensibility is here, too – build on looping facilities to let your musical fancies take flight.

So it’s fitting that some key personalities are joining the stream today.

Imogen Heap is of course another defining artist in modern looping-vocal technique.

KiNK has proven that virtuoso live performance has a place on dancefloors, too, even in the age of linear CDJ mixing.

Matt Black and his act Coldcut built some of the software and performances that showed what audiovisual sampling cut-up culture could be.

And there’s more. Flux Pavilion is a major name in EDM at that meeting point between mainstage and producer, singer-songwriter and electronic production. Dan Le Sac is another legendary UK name (and also crossing into game production). And from our Internet music tech world, Gaz Williams of Sonic State is there both as a presence from journalism and synth and bass musicianship – hi, Gaz!

Twitch.tv, while first established for gaming, has of late become a refuge for musicians. Higher-quality streams, better community features that actually work properly, and proper monetization that might not drive artists further into the poor house all set it apart from the major US tech oligopoly providers. (You know who you are.) So this feed is appropriately launching on the channel by touring app Bandsintown with Twitch, just as artists look for ways to keep some trickle of funds and activity coming in during global lockdown.


Tune in today Tuesday daytime UK time. (I’m inquiring about replays for the USA, which will be slowly waking up toward the end of the programming.) If you’re personally puzzling on how to stream while dealing with competing platforms, they’re using the most popular tool for that, restream.io.

And if you’ve got an iOS gadget (iPad and iPod touch work, too), head to:

Endlesss – Multiplayer Music

The app is free, with in-app purchases of additional content.


The post Endlesss is a musical jam app; Imogen Heap, KiNK, Matt Black, more join a stream today appeared first on CDM Create Digital Music.

Fantastic Voyages, a simulated Tascam Portastudio, and a voice from isolation

Delivered... David Abravanel | Scene | Mon 30 Mar 2020 7:36 pm

From his machines’ novel ideas like neural network distortion to AV installation made from DNA, Giorgio Sancristoforo is a defiant, powerful musical voice – coming to us from deep in pandemic quarantine.

David Abravanel reports for CDM.

“At the end we will make it,” says Giorgio Sancristoforo. “Though I honestly don’t know what to expect in the aftermath.”

It’s an anxious and trying time for the entire world, dealing with the fallout of an unprecedented pandemic. The world’s hardest-hit region remains Lombardy, the northern province of Italy that contains industrial and fashion capital Milan, where musician, software developer, and visual artist Giorgio Sancristoforo lives.

Giorgio is perhaps best known for Gleetchlab, his music software environment designed for making experimental electro-acoustic music. Currently in its fifth incarnation as Gleetchlab X, it includes such unusual features as effects that use neural network modeling for distortion, replicate skips from scratched CDs (instant Oval!) or magnetic data corruption of a hard disk.

Improvisation in Gleetchlab X.

Giorgio’s music and audio-visual art are as eclectic as his software – whether it’s disco house as Tobor Experiment, or, lately, working with radiation and his own DNA sequence as sound sources and controllers.

Shortly before the pandemic hit, Giorgio emerged from a period of relative silence on the software release front with GleetchDrone, a gorgeous synth that showed off his new GUI design – skeuomorphic, yet remarkably clean and very friendly. Now comes Fantastic Voyage, a “Portable Cosmic Studio” inspired by the Tascam Portastudio, and featuring many of Giorgio’s own decidedly experimental ideas. 

I caught up with Giorgio to get a glimpse of his life – the new software, his latest music and audiovisual projects, and living through the pandemic.

“Radiation Grooves”, an improvisation from Giorgio with sonified gamma radiation.

David: You took a break from releasing software, then came back to release GleetchDrone. You’ve been working with DNA, including your own sequence – how did that happen?

Giorgio: I code software for my work almost every day. The software for sale to the public is just the tip of the iceberg. 

I’ve worked the whole year to get my DNA sequenced and to craft a “radiation projector” to use radioactive materials in an installation. I designed several algorithms to translate my genetic code into sound with quaternary mathematics. I call this system “Phonosomic Code”.

Once I get the sound out of my DNA, I use radioactive elements such as Sr90 to stimulate a mutation of the code. This research was possible thanks to the precious help of the scientists of the JRC Nuclear Security Unit, the JRC Biochemistry and Genomics Unit, and the JRC Knowledge for Health & Consumer Safety Unit. The installation was the first phase of this research. 

I am working at 360°with genomics and radioactive materials to produce sounds, images, photos and meta-sculptures and of course software.

The quarantine put many events on hold that I should have attended in Spring 2020, so I thought that I could take a little break and code a couple of new instruments for the people who are stuck at home like me.


GleetchDrone is an impressive interface – were you inspired by any existing hardware?

Well yes. Soma Lyra-8 was the inspiration for GleetchDrone, in addition to some memories of my days with ADDAC modules. (I don’t have hardware synths anymore). 

You know, many times it starts just as challenge between me and me. If I want a certain piece of hardware [in software form], I start coding and see what can I do to improve it for my needs.

For Fantastic Voyage, you said you were inspired by working with a Tascam Portastudio. Do you still have one?

No, I don’t have any analog equipment nowadays, except a Teac A3440 1/4”. But it must be repaired [laughs].

The Portastudio was my first recorder in the early 90s, I literally learned to play music thanks to that recorder. At that time I was into the psychedelic/indie scene (Spacemen3, Stereolab, Inspiral Carpets, etc.) and I learned to play guitar, bass, organ and synths to record songs on that machine. Fantastic Voyage is my ideal stomp-box/studio for tripping guitars, but people will do amazing things with it using any kind of instrument. It’s my tribute to psychedelia.

Fantastic Voyage.

GleetchDrone and Fantastic Voyage were released within weeks of each other. Is there more software that you’re working on? Is this a new series?

I’ll tell you the truth: this very much depends on the length of the quarantine. I’ve been working on my personal software for the DNA work for months and I want to finish this as soon as possible, but I don’t rule out making new public releases in the coming weeks. There is much time nowadays.

An audio-visual installation based on Giorgio’s DNA sequence.

Another of your programs, Berna, replicates a 1950s-style early electronic music studio. Are there any pieces from that era which remind you of what’s possible with Berna?

Berna is 90% a clone of the RAI Studio di Fonologia in Milan, so many musical pieces crafted in that studio could be theoretically re-recorded with Berna. But, keep in mind that a significant part of the job was tape splicing, the machines often played a secondary role in the early days of electronic music. The biggest part was the manual job on tape with scissors and scotch tape.

A classic piece that one could do on Berna is “Scambi” by Henri Pousseur. 

Henri Pousseur – “Scambi”.

Of course, if you are crazy enough, you could record Stockhausen’s “Studie II” (adding a lot of work in a DAW to edit the tape fragments), which was originally made at WDR studio in Cologne in 1954.

In the manual for Fantastic Voyage, you mention that it was developed during lockdown isolation in Italy. Obviously, it’s been a very difficult time for Italy with COVID-19. How have you been doing in isolation? What do you think about the role of artists and developers during this period?

I live in downtown Milan, and my region, Lombardy, has been hit very hard by the virus. We still don’t see the light out here.

As an artist and hardcore nerd my life has not changed dramatically. My loft is my atelier. I have more time to concentrate and fewer distractions, so I am very productive despite the situation. Of course I miss my friends, my bookstores trips, and sushi on the river.  Each time I go to the supermarket I feel a little bit like I’m attending a Russian Roulette party. 

Giorgio, in isolation in Milan.

The most frightening thing for me is the surreal silence broken by sounds of ambulances the whole day. One night we had an army helicopter flying over our heads shining light beacons; it was patrolling downtown, and I tell you, it was not a pleasing experience. I’ve never seen that before. It felt very dramatic, but at the end we will make it.

Though I honestly don’t know what to expect in the aftermath.

It could be a chance to change our society. I hope that this virus will make us better persons. 

But I also see many irrational responses to the crisis. A lot of ideological polarization driven by fear and denial of science, plus a good deal of confusion among politicians and journalists which is now showing how many of them are unfit for the job. The virus is a test for us all. For sure this is an historical event of unprecedented size. We’ll see what the future will bring.

Artists and developers are doing a great job. Artist are hit very hard by the virus with the cancellation of exhibitions, concerts etc. The whole art industry will suffer income losses for millions of euros. Yet the artistic community is doing a great job to make the people who are stuck at home feel a little better, with streaming of music, events, lessons. I am truly amazed by this tenacious response. It is also true that creative people are lucky. They can invest this quarantine time to serve the community and at the same time they have the intellectual means to cope with a long forced lockdown.

My artistic work is about mutation and transformation. Transformation is the very essence of life.

Changes are never easy and seldom painless. We are facing a huge transformation, It’s up to all of us, to turn this tragedy into a change for the better.

War, social injustice, poverty, famine, climate change, are all out there. 

The virus is a tough teacher, we must learn from it. Climate change will be a much powerful enemy, we must be prepared for a bigger war.

The virus shows us how anachronistic and useless are the idea of nations. We are one single planet.

This war will not be fought with weapons, but with compassion, care, solidarity and a radical shift in our priorities.

Stay safe.

Play loud.



Trial/purchase Giorgio’s software – including Gleetchlab X, GleetchDrone, and Fantastic Voyage

Giorgio Sancristoforo on Vimeo

Giorgio Sancristoforo on Bandcamp

The post Fantastic Voyages, a simulated Tascam Portastudio, and a voice from isolation appeared first on CDM Create Digital Music.

Applying the FCC Guidance on No-Charge Spots and Lowest Unit Charge During the Pandemic

Delivered... David Oxenford | Scene | Mon 30 Mar 2020 4:44 pm

Many stations seem unsure of how to apply the recent FCC guidance  that no charge spots given to advertisers to help them through the pandemic do not need to be counted in computing a station’s Lowest Unit Charge, as long as the no-charge spots are not part of paid advertising contracts and are not otherwise considered bonus spots.  We wrote about that guidance last week when it was first released by the FCC, here.  Because this issue can get complicated quickly, we recommend that individual stations talk to their counsel about any specific application of the FCC’s Public Notice to their situation.  However, as we were involved in seeking the guidance from the FCC, what follows are some general thoughts as to issues that stations should keep in mind in applying the FCC’s decision.

To be exempt from Lowest Unit Charge calculations, any no-charge spots should not be added to any existing advertising package, nor should they be used as a direct incentive to buy a new package, e.g., no promises should be made to give 20 no-charge spots to an advertiser if they buy a paid schedule of 20 spots.  The whole idea is that these spots are gifts to the advertiser to help them through the crisis, separate and apart from any commercial advertising transaction – while at the same time building goodwill for the station and helping the station fill holes in their inventory that have resulted from cancelled advertising.  These gifts should be viewed as a temporary measure to get through the crisis.  Because these no-charge spots cannot be tied to paid packages, stations should be careful on how they promote them to advertisers.  Here are some ideas:

  • Don’t call them “bonus spots” in any communications.  Call them “goodwill spots” or “covid-19 spots” or something else, but you do not want to imply that they are a bonus associated with another package.
  • Don’t give them in strict proportion to any existing contract, e.g., don’t give an advertiser 10% of its paid schedule in “goodwill spots.”  That also makes it look too much like they are part of a paid schedule.
  • Don’t list them on the same invoice or affidavit of performance that you provide to an advertiser showing its paid spots.  There is no requirement that you provide specific documentation to advertisers of what you run, but if you do, keep it apart from the documentation of paid schedules.
  • The spots should be preemptible.  Don’t make any promises or guarantees of any specific number of spots that will be provided and remind advertisers that this situation is temporary and simply an expression of good will on your station’s part during these difficult times for everyone.  You also should not guarantee any particular audience size or reach or frequency.
  • While not required, having a unique message relating to the pandemic, or packaging multiple advertisers together in spots to promote local businesses, can help differentiate these spots from normal paid schedules that are still subject to LUC consideration.

This is a unique solution for a unique time, but one that some stations may be able to employ as a win-win for both the stations and their communities.  Talk to your counsel for more details on how to employ this kind of program without running afoul of the FCC guidance.



News | Dean Blunt Shares Archival Compilation – The Quietus

Delivered... | Scene | Mon 30 Mar 2020 8:00 am
News | Dean Blunt Shares Archival Compilation  The Quietus


Delivered... Spacelab - Independent Music and Media | Scene | Sun 29 Mar 2020 10:00 pm
It's going to be a Fall version of BSMF, check out the latest details!

Did Apple just leak a new version of Logic with Ableton-style clip launching?

Delivered... Peter Kirn | Scene | Sun 29 Mar 2020 8:47 pm

Apple appears to have accidentally leaked an upcoming version of Logic Pro with the signature feature of Ableton Live – nonlinear pattern launching.

While spotted on Reddit, the source of this leak at the famously secretive company appears to be … Apple itself. As I write this, the screenshot is still live on a public education site:


If this is real – and not a mock-up that accidentally wound up on the page – it represents a landmark. That landmark might best be described as “what took you so long,” arguably, given that Apple Loops have been a feature of Logic Pro and GarageBand back to the reveal of GarageBand in January 2004. (Time flies!)

We can pretty easily analyze the screenshot. At the top, new icons appear to let you view a nonlinear Session View-style layout, the normal track arrangement, or both. (In this screen shot, the two are side-by-side.)

Navigation icons.

As with other copies of Live’s signature Session View, the horizontal and vertical axes are flipped. So whereas Live shows you tracks the way channel strips appear on a hardware mixer, vertically, Apple opt for a view more like a software DAW. Tracks are laid out horizontally, so that they match up with the arrangement.

The grid. Note the circular displays with waveforms – something seen in iPad apps, for instance – though essentially the opposite of Ableton’s embrace of minimalism.
Remix FX – here made to look very Ableton-esque. (These were in GarageBand; I can’t recall exact versions and the relation to Logic… anyone?)

Really, my issue with this is that you wind up with kind of a jumble of interface elements. That’s been the challenge in other DAWs trying to do the same. (An ill-fated effort in Cakewalk nee SONAR springs to mind; MOTU has tried the same in DP, but it’s a bit too soon to know yet how DP users are responding.)

Part of the appeal of Ableton Live is that the entire engine and software operation are structured around the idea, and the UI is clean and compact as a result. Here, part of the reason people may have responded that the image was fake was that it gives the user a lot to digest.

You’ll also see X/Y-pad effects at the bottom, including a filter and repeater – aping something that was in Ableton Live way back at the start.

I’m not sure how users will receive this. It could represent a blow to Ableton in the crucial education market, however, regardless – because it might allow education buyers to standardize on just Logic seats. But it represents a challenge independent software developers face, up against a company the size of Apple, when it comes to value.

On the other hand, I wouldn’t assume anything until there’s official word from Apple. Given this absolutely represents some kind of screw-up, it’s possible the screenshot itself is not representative of something Apple will actually ship.

And I wouldn’t worry too much about Ableton – the company has proven time and again that users are loyal to its workflow and simplicity, whatever the competition. Those of us sometimes swapping between Logic and Live might meanwhile just find this a welcome convenience. Time will tell.

Mainly I’m just sorry for whoever is working at home who may have, erm, just let this out.

The post Did Apple just leak a new version of Logic with Ableton-style clip launching? appeared first on CDM Create Digital Music.

FCC Announces Extensions of Deadlines to Upload Quarterly Issues Programs List and to File Annual Children’s Television Report

Delivered... David Oxenford | Scene | Sun 29 Mar 2020 5:24 pm

The FCC on  Friday released a Public Notice announcing that they are giving stations more time in which to upload their Quarterly Issues Programs lists to their online public file and to file their first Annual Children’s Television Report.  In our list of April regulatory dates for broadcasters last week, we had highlighted both of those filings.  Because of the disruption of the schedules of so many people, and the lack of access to many broadcast stations, the FCC appears to have decided that broadcasters should get more time to meet these regulatory obligations.

Quarterly Issues Programs lists are required to be uploaded to the online public inspection file of all full-power stations every quarter – and would normally be required to be in the public file by April 10.  While urging stations to upload those lists as soon as possible, the Commission has given stations until July 10 (when the next quarter’s lists will be due) to upload this quarter’s report.  So the two reports could be uploaded at the same time.

The first-ever Annual Children’s Television Report was to be filed with the FCC by March 30, reporting on educational and informational programming directed to children since the effective date of the new children’s television rules (see our blog article here about the revised rules).  The report would normally be due in January, but was delayed until March 30 to give broadcasters time to become familiar with the new forms (see our article here).  Now, those reports must be filed by July 10, 2020.

In the Public Notice, the FCC notes that other public file and FCC filing obligations remain in place.  For instance, the FCC has not extended the date for filing license renewal applications by radio stations in Tennessee, Kentucky and Indiana, due on April 1.  The Commission has expressed its willingness to be lenient in granting extensions of these filings and others upon request, but the deadlines remain unless specifically extended.  Similarly, other public file obligations (including the requirement to upload information about political ad sales and other candidate uses) remain in effect.

The two extensions granted on Friday are additional indications that the FCC recognizes the disruption caused by the COVID-19 pandemic.  These follow other actions we’ve written about, including relief for stations in Phase 9 of the television repacking, guidance on the impact of special flights of free advertising spots on lowest unit rates, and relief for newsgathering activities exempting temporary pooling arrangements from public file requirements under shared services agreement rules and liberalized waivers of attribution rules for TV news sharing agreements that exceed 15% of a station’s programming time.  The FCC is doing its best to assist broadcasters in coping with the sudden realities of today’s business in these most unusual times.


News | RIP Krzysztof Penderecki – The Quietus

Delivered... | Scene | Sun 29 Mar 2020 8:00 am
News | RIP Krzysztof Penderecki  The Quietus

How Zebra Katz Earned His Stripes

Delivered... whitney | Scene | Sat 28 Mar 2020 8:38 am

8220;I’m not just this one trick pony, you know?” says Ojay Morgan, “I’m a Zebra.” On his debut album Less Is Moor, released last Friday, the Jamaican-American artist, better known by his persona Zebra Katz, boldly reasserts this claim across fifteen, club-ready tracks. He snarls, teases, and throws shade, intentionally showing off all the verve and rhythmic elasticity of his voice on top...


Preity Zinta angry over pairing with Aamir and Sanjay Dutt – News Track English

Delivered... | Scene | Sat 28 Mar 2020 8:00 am
Preity Zinta angry over pairing with Aamir and Sanjay Dutt  News Track English

Kriti Kharbanda wants to work with top stars of Bollywood – News Track English

Delivered... | Scene | Sat 28 Mar 2020 8:00 am
Kriti Kharbanda wants to work with top stars of Bollywood  News Track English

Shilpa Shetty cleaning house garden during self quarantine – News Track English

Delivered... | Scene | Sat 28 Mar 2020 8:00 am
Shilpa Shetty cleaning house garden during self quarantine  News Track English
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