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


Continental Drift: 20 Curated Club Tracks That Capture the Spirit of Survival

Delivered... whitney | Scene | Thu 30 Apr 2020 6:40 pm

In a moment when socializing has moved almost completely online, the music emerging from hyper-local contexts is a refuge. Recently, much of the post-COVID-19 discourse has revolved around livestreaming, tip jars, and mutual aid—with tech platforms (from Bandcamp waiving its revenue share to Spotify tacitly accepting the inequity of its royalty scheme) either affirming or rejecting these concepts.

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Nabihah Iqbal: the London musician who got locked down in Pakistan

Delivered... Ravi Ghosh | Scene | Thu 30 Apr 2020 4:02 pm

After losing two years’ worth of music in a break-in, DJ-producer Nabihah Iqbal went to Karachi – and got stuck there for weeks. But she reconnected with her family, the guitar – and a lot of okra

In years to come, Nabihah Iqbal will hopefully look back on the past seven weeks and think that everything happens for a reason.

The London-based musician got stranded in Pakistan’s most populous city, Karachi, on 6 March, having flown out for two weeks to visit her critically ill grandad. Just days before Iqbal left the UK, her studio was burgled, including a laptop containing two years’ worth of original music.

Everybody’s probably thinking: I need to make a banger. Just live off royalties and not have to worry about playing gigs

Related: Down the Cosmic Hole: are Berlin's 56-hour party people facing their last dance?

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The Top 7 Mixes of April 2020

Delivered... Caroline Whiteley | Scene | Thu 30 Apr 2020 3:07 pm

As we adjust to the realities of COVID-19 and come to terms with the possibility that clubs may not open for a long, long time, the concept of a home listening DJ mix has been totally shaken up. Now, it seems the weekends are reserved for house, techno, and other hi-NRG club material we can stream DJs live from around the world, in our Digital Club Nights or on Twitch or Instagram. The rest of the...

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A four-way, cross-genre music improv format – watch and hear the results

Delivered... Peter Kirn | Scene | Thu 30 Apr 2020 2:48 pm

Electronic music – pandemic or no – can often become a solo endeavor. And people working in different genres get to interact even less frequently. A series out of Hamburg has been delightfully messing up that order.

Yes, isolation is a good reminder of what we miss in sharing a space with other people. But I notice the general diet of streams and online videos has tended to shy away from more experimental, avant-garde pairings.

4fakultät not only bends to the adventurous but does so by creating scenarios where people play together who otherwise might not. (“Konzertreihe für stilübergreifende Improvisation.”)

Robert Lippok; visuals by Alexander Trattler and Artur Musalimov. Photo: Maik Gräf.
Ah, audiences. Episode #8; photograph by Phil Struck.

There’s a structure, set up to ensure balance and encounters, for two and a half hours of combined improvisational and compositional trajectories. “It really puts a focus on the interaction between the most different people and musical styles,” says Konstantin Bessonov, who co-produces the events.

Twelve sessions have taken place so far in Hamburg – with Derya Yildirim, Kate NV, Anna-Lena Schnabel, Svetlana Maraš, Robert Lippok, FOQL, Jimi Tenor, Andrea Belfi, Andrew Pekler, Yves de Mey, Nika Breithaupt, Sven Kacirek, Jawad Salkhordeh, Fee Kuerten, and various others.

Episode #13: Yves de Mey, Goran Lazarević, Eva Zöllner, Visuals: Alexander Trattler and Artur Musalimov. Photo by Philipp Schewe.
Photo (and cover): Fee Kürthen, Tellavisio, Derya Yıldırım. Photo: Konstantin Bessonov.

And if you’ve been missing experimental concerts, now you can stage one whenever you like for yourself. Pour yourself a glass of wine or a tea, sit back, and for now you can get video (of two) and high-quality audio (of all twelve). It’s all free – good for the impoverished purveyors of experimentalism – though if you do have some pockets, of course donations to the artists are encouraged.

Video:

Streaming audio – there’s a full playlist:

Konstantin Bessonov · 4fakultät

Konstantin Bessonov · 4fakultät

And there’s more – one of the best ways to explore is to page through the Bandcamp offerings, which are available as high-quality downloads and broken down by track:

There are love songs, too, which in these isolated times have some deeper beauty, somehow:

For instance, I adore this song by Lena Geue, listening to it on repeat:

Lovely lady, how does it feel /
to know that distance is a spinning wheel

It has me feeling wistful. Certainly, finding some way to play together from a distance is necessary. But I also realize we may need to use some of this time to try to imagine and build the connections so we can be in the same room again. Maybe that was what mattered most.

A.K. Klosowski’s Walkman. Photo by Phil Struck.
#14: John Eckhardt, Davide Tomat, visuals: Alexander Trattler / Artur-Musalimov. Photo: Maik Gräf.
#9: Irene-Kepl. Photo: Phil Struck.
John Eckhardt, Davide Tomat, visuals: Alexander Trattler / Artur-Musalimov. Photo: Maik Gräf.
#12 Jimi Tenor, visuals Alexander Trattler / Artur Musalimov. Photo: Philipp Schewe.

Full info:

https://4fakultaet.de/
https://4fakultaet.bandcamp.com/

The post A four-way, cross-genre music improv format – watch and hear the results appeared first on CDM Create Digital Music.

This vaporwave synth was made with a VHS tape deck – and it’s surprisingly deep

Delivered... Peter Kirn | Scene | Wed 29 Apr 2020 11:37 pm

In these trying times… well, we definitely need to hear rare 80s synths with some friendly, fuzzy VHS deck warble, right? Wish granted!

This saga starts with SampleScience’s Vaporwaves, which was a grab-bag rompler/multi-sampled instrument full of 80s sounds – FM mallets, glass pianos, Rhodes, onboard VHS effects. And yes, of course it also came with a triangle and a classical statue and some pink and purple vaporwave graphics.

But Vaporwaves 2 is really more than a sequel. This entire multi-sampled instrument focuses on one fairly obscure 80s FM synth. (I actually now know what it is, because I bugged Pierre until he told me. But I’m sworn to secrecy.)

https://www.samplescience.ca/2020/04/vaporwaves-2.html

$30, Mac + Windows.

There are 45 FM sounds recorded into there, with a full 1.04GB of sound. And whereas this could have just been a sample player with an amplitude envelope, call it a day, there’s more. So you get a preamp processor, multiple voice modes, multiple filter modes, and an LFO with both configurable target and source.

I’ve been playing around with it, and it’s really beautiful. So in addition to being able to get wonderfully retro sounds, I already can imagine it being bent into some other ambient and experimental contexts. Sometimes you just need a simple instrument for some added inspiration – and since we can’t get to flea markets for the moment, this downloadable instant gratification can fill in.

Listen:

This being CDM, of course we need to know more. And – oh God, I’ve used this VCR. (It’s rare now? I hope I didn’t miss my chance.)

Pierre explains:

The VCR I used is the Panasonic PV-S4670, it’s an S-VHS compatible VCR which is rare. The sounds have been recorded on very bad tapes though because I wasn’t getting the effect I wanted with good tapes. I remember that in the 90s broke musicians were using VHS as a way to get “high” quality recordings for cheap. With good tapes and recording in SP mode, the sound is actually quite good.

For Vaporwaves 2, I artificially degraded the tapes by putting them in the freezer. I took the idea from Brian Grainger, a dub techno/idm artist mostly known for his work as Milieu/Coppice Halifax. In his case, he would burry his tapes in his yard for a day to see what would happen. I really like the sound he got by using this technique.

We have some behind-the-scenes photos, taken on a suitably grungy 2000s-era digital camera.

Also, LaserDisc. Courtesy the developer. Someday, maybe you’ll get near such fine studio sound equipment.
Memories, like the corners of my … closet.

The freezer trick was never necessary before; we were able to just keep re-taping Fraggle Rock and Doctor Who over tapes again and again, so I’m glad to know this new technique.

Features list:

  • 45 FM synth sounds recorded on VHS
  • 1.04 GB of sounds
  • Multi-LFO
  • Lowpass/Highpass filter
  • Multi-voice mode and glide control
  • Amplitude range controls
  • Preamp
  • Available as a VST/VST3/AU plugin for Windows and macOS (High Sierra and Mojave, Catalina via the Maize Sampler Player)

Oh yeah, and for more inspiration – Brian Grainger has a YouTube channel. I don’t know how I missed that.

https://www.youtube.com/user/Slowlid

Vaporwaves 2 Plug-in

The post This vaporwave synth was made with a VHS tape deck – and it’s surprisingly deep appeared first on CDM Create Digital Music.

Arturia’s stay home plan: software 50% off and free, tons of tutorials

Delivered... Peter Kirn | Scene | Wed 29 Apr 2020 9:59 pm

Sure, we’re inundated with stay-at-home music messages at the moment. But Arturia has one of the biggest menus of offerings – and crucially, they also teach us how to use their stuff. That’s worth an extra check-in.

Software deals

First, the deals –

Free: As I’ve mentioned before, iSpark is free on iPad and a nice little drum machine through April 30 – that’s Thursday, so act quick. Pigments (desktop plug-in) is an all-in-one synth with an unlimited trial through July, and Analog Lab is free in the same time period, for preset access and basic controls from the V Collection.

SYNTH ANATOMY has done an iSpark tutorial for you iPad users:

Pigments I think CDM readers will especially like, in that you get FM, wavetable, sampling, and virtual analog in a single instrument. There are a handful of plug-ins gunning for that territory at the moment, but it does have its own unique spin on the all-in-one notion, and all of the ingredients of Arturia’s software stable. You could do a lot of damage with it between now and July – and if you really decide you like it before May 7, it’s 50% off now.

50% off: There’s 50% off any individual software, effect, or sound pack lasts through May 7, so you’ve got about a week left:

https://www.arturia.com/make-music

Now, you might actually want to pass on these deals in certain circumstances, just because Arturia’s bundle pricing is so aggressive.

I’ve been using a lot of this stuff myself, so my own humble opinions (to take as you will):

On the synth side: V Collection 7 (that’s v the letter, as in virtual, so “vee collection seven”) will run you 499EUR but split payments are available, and you get 24 instruments. That’s a lab-sized museum full of instrument models.

If you wanted to focus on one historical synth model, I’d pay particular attention to the Buchla Easel V or the [Moog-inspired] Modular V. Either of those at 74EUR is a deep instrument and a solid investment. I’m also personally partial to the newer Synthi V and CZ V – especially that last one, as Casio’s synth history hasn’t gotten near enough love in general, and the modulation and effects options Arturia added make it a deep workstation.

Buchla’s Music Easel gets a powerful software recreation, now on sale.

On the effect side: The effect bundle is now pretty irresistible at 399EUR – I’ve been using it the last weeks, and it’s probably one of the best effects deals on the market, even when compared to subscription offerings. Happily this is no longer divided into the “XX You’ll Actually Use” line-ups, but rather one reasonable bundle that gives you anything.

That said, for 49EUR each, a little focus is not a bad thing, creatively or budget-wise. Any one of the filters offers some sequencing options, so it’s down to which flavor you like. Compressors, delays, too, are really a matter of preference in color and interface.

And reverb – well, I think a plate reverb is pretty indispensable, so out of this whole 50% sale, the Rev PLATE-140 is pretty much a must-buy if you don’t have an EMT in your collection. It’s impressed a few friends here who have some other recreations. And including this vintage plate in your arsenal is just one of those things – it can be hugely useful both for really short delay times and light application all the way up to cavernous, wet, long delays.

If you do have a go-to EMT, the next-best must-by may be Arturia’s unique Rev INTENSITY. The combination of a digital reverb with envelope follower, filter, and sequencing and modulation is something really special.

Rev INTENSITY is a different kind of reverb – a multi-effects reverb-based sound processor and instrument, effectively.

All of these have big skeuomorphic interfaces, which I know not everyone loves. But they increasingly do provide some useful visual feedback – especially on the INTENSITY, which uses that real estate with some purpose.

Learning

Okay, deals are one thing – but the main thing is, now is a great time to actually learn to use the stuff. Skill development is a good place to turn even on days when you might not feel as creatively inspired. (Plus, a couple hours in “school” mode, and if you’re the kind of person who doodled on the side of your homework, you may find that creativity returning!)

Arturia have been both hosting live workshops and posting tutorials. You’ll find all of that on their page, too, but I want to draw particular attention to a few items.

Tomorrow Thursday at 6PM Central European Time (that’s noon east coast USA, 9am west coast), you get a run-down of the DrumBrute Impact. That instrument has a really unique sound and tons of playable features, but a stupidly low price. Since it isn’t a clone of something else, you get something different in your tracks. And its user interface is from our generation, rather than the 1980s. Bryan at Arturia will show it off; I’ll be in my studio with mine tuning in to see what he demonstrates:

The Pigments workshop is also don’t-miss since the software is free through mid-summer. Or, well, I missed it, but – time delay, it’s a thing.

There’s a playlist of more tutorials, too:

The MicroFreak is one of the more interesting instruments on the market at the moment, packing a ton of sound and functionality into a small, economical package. So you’ll want to check in on this sound design tutorial:

(You might well find some even better deals on a MiniBrute, so there’s a tutorial on that, too.)

I am right now figuring out what to do with the KeyStep Pro that just arrived, but it offers a lot of power for us keyboardists – especially having waited for this functionality to migrate over from the BeatStep Pro to something with actual keys on it. There are a few short tutorial/demos on that, as well, which gets especially interesting for performance.

But wait – there are no audiences! Well, “performance” is just as relevant when jamming in the studio and improvising in tracks, even if I leave out that whole “streaming” thing.

Lastly, if you make stuff with any of these tools, or learn some specific techniques, we’d love to hear about it.

Hey manufacturers / users – I know a lot of you are doing this, too, especially while we’re all avoiding going out. So if you’re a gearmaker and want to make sure CDMers don’t miss your stuff, do get in touch. And users, if there’s anything you’re keen to see, let us know that, as well.

The post Arturia’s stay home plan: software 50% off and free, tons of tutorials appeared first on CDM Create Digital Music.

Record Companies Respond to FCC Commissioner on Payola – What Should Broadcasters Learn from the Responses?

Delivered... David Oxenford | Scene | Wed 29 Apr 2020 5:19 pm

The responses by the major record labels to Commissioner O’Rielly’s inquiry into allegations of payola practices (see our article here) were published last week while we were all distracted with pandemic issues.  While the responses (available here on the Commissioner’s twitter feed) were perhaps not surprising – saying that the record labels do not engage in any on-air pay-for-play practices where the payment is not disclosed – they nevertheless highlight some practices that should be observed at every radio station.  As I have said in many seminars to broadcasters around the country when talking about FCC sponsorship identification requirements, if you get free stuff in exchange for promoting any product or service on the air, disclose that you got that free stuff. As made clear in these responses, when the record companies give free concert tickets or similar merchandise to a radio station for an on-air giveaway to promote a concert or the release of new music by one of their artists, they agree with the station to reveal on the air that the record company provided the ticket or merchandise that is being given away.

The responses also indicate that these record companies do not provide musical artists to play at station events with any agreement – explicit or implicit – that the station will play those artists more frequently because of their appearance.  While that might happen naturally, it also might not (if, for instance, the band is one of many acts participating at some station-sponsored festival).  The record companies state that their contracts with stations for such events make clear that there is no agreement that any artist appearance is tied to additional airplay for that artist.

The responses also reference settlements with the New York State Attorney General’s office of payola allegations that occurred over a decade ago.  A number of radio companies and record labels entered into settlements with the Attorney General’s office and the radio companies also entered into consent decrees with the FCC to resolve issues raised in these investigations.  One of those settlement agreements with the FCC is available here, and sets out very specific compliance conditions including:

  • Prohibiting stations and employees from exchanging airtime for cash or items of value except under certain circumstances;
  • Placing limits on gifts, concert tickets, and other valuable items from record labels to company stations or employees;
  • Appointing compliance officers who will be responsible for monitoring and reporting company performance under the consent decrees; and
  • Providing regular training to programming personnel on payola restrictions.

Reviewing the specifics of these agreements is an important way for stations to ensure that they are not unintentionally running afoul of the payola rules.  These conditions recognize that there is some interaction to be expected between record labels trying to expose their music and radio companies deciding what to play.  But that needs to be done in a way that is limited to avoid the appearance that money or other items of valuable consideration decide what is played on a station – unless the audience is specifically informed that the programming is sponsored.  With these issues back in the news, be sure to observe these limitations.

Features | Baker’s Dozen | Heal Your Soul: Fatoumata Diawara’s Favourite Music – The Quietus

Delivered... | Scene | Wed 29 Apr 2020 8:00 am
Features | Baker's Dozen | Heal Your Soul: Fatoumata Diawara's Favourite Music  The Quietus

News | Flying Lotus To Release Instrumental Version Of ‘Flamagra’ LP – The Quietus

Delivered... | Scene | Wed 29 Apr 2020 8:00 am
News | Flying Lotus To Release Instrumental Version Of 'Flamagra' LP  The Quietus

News | Record Store Day To Expand To Three Dates For 2020 – The Quietus

Delivered... | Scene | Wed 29 Apr 2020 8:00 am
News | Record Store Day To Expand To Three Dates For 2020  The Quietus

News | Music Venue Trust Launches Campaign To Support Venues – The Quietus

Delivered... | Scene | Wed 29 Apr 2020 8:00 am
News | Music Venue Trust Launches Campaign To Support Venues  The Quietus

News | Nadine Shah To Interview The Quietus – The Quietus

Delivered... | Scene | Wed 29 Apr 2020 8:00 am
News | Nadine Shah To Interview The Quietus  The Quietus

Imagine clubbing, space odyssey-style, with this pandemic-proof suit concept

Delivered... Peter Kirn | Scene | Tue 28 Apr 2020 11:40 pm

If you can’t be rid of the pandemic, why not transform the clubber? A speculative project has you suiting up like you’re going to encounter Alien or ask to open the pod bay doors – but its futuristic features are all real and doable, right now.

Micrashell, announced this week, is the work of Production Club, a creative studio who specialize in immersive experiences and have worked with everyone from The Chainsmokers and Skrillex to Amazon. Of course, that also means that like the rest of us in the arts, they’ve also got time on their hands to ponder what to do when there’s no audience.

And the results are wild. This suit doesn’t just protect you from the virus. It also integrates a phone, the ability to vape (yeah, really) or sip on a drink, and reimagines how you might communicate and hear sound. Read on, because that includes the ability to mute people in a way that has to be the coolest made-up notion in sound since Get Smart‘s Cone of Silence.

It’s extreme, but like good speculative work, as you dig in, you find creative ideas that could lead somewhere.

Is it a workable solution to the current situation? Well, no, probably not, given that vital protective equipment isn’t available to front-line health workers. But we’re already seeing strangely science fiction scenarios we wouldn’t have imagined before – and the 1918 pandemic victims certainly wouldn’t have envisioned digital tracking or drone surveillance on one hand, or sophisticated protein sequencing to produce faster vaccines on the other. So there are real ideas to be explored here, and there’s no question the global notion of what you would wear has shifted, just as the pandemic a century ago inspired masks. So it’s worth pulling this apart and understanding why – and how – it could be made.

Mike808 (Miguel Risueño), Head of Innovations, tells us more.

CDM: You’ve done of course some major event production. Can you tell us where you come from that led to this work, and this project?

Miguel: Jaja, thanks! My background is originally in music technology and audiovisual engineering. My current resume on events started by designing the stage for my own DJ show 12 years ago. ^_^ From there, it kept escalating; we started Production Club in 2012 and that’s how I worked with Zhu, Skrillex, Zedd, Martin Garrix, Chainsmokers, Notch (Creator of Minecraft), Intel, Amazon, YouTube Gaming and some other cool cats.

How about this project? Obviously, it’s partly imaginative and speculative, which is great but – was there any consultation of people who could tell you a bit about how to make something like this work?

The idea was born in a brainstorming session where we tried to vomit as many ideas as we could on “how to solve this problem” – [that problem] being, the concert and event industry going to s***. Our background comes from “if it doesn’t exist, then go build it”, so that’s what we are doing.

The design – as you well said – is speculative and imaginative in nature, because that’s pretty much the only way we know to come up with big ideas. Production’s Club mentality is always concept comes first, execution after. So far we have always been able to figure out how to successfully build our ideas, but of course, this is an especially ambitious one. I always remember a quote from the last Miyazaki movie [Hayao Miyazaki’s The Wind Rises] that said something like “Inspiration unlocks the future. Technology eventually catches up.” And I feel that perfectly synthesizes our mindset.

We consulted some third parties we believed necessary when designing the suit – this was mainly a doctor, a biologist, a sport scientist, a systems architect, and a fashion designer. The concept design team on the suit itself is also pretty badass and already known for some of our best designs (Sadgas, Juan Civera, Fran Zurita and this cat). Finally, we have a Technical Director in-house who’s main responsibility is to figure out how to build what we design (scenic, lighting, production, automation, spatial, etc.) so all those + a bunch of other Production Club badass members helped to get where we are. [Check Sadgas’ site for more conceptual 3D work from this Spanish designer, including wild suits and designs.]

Oh yeah, there’s a sonic element, too? Sub resonators? Is this something like a more elaborate take on the SubPac (immersive audio system)? Or how does it work?

Yes! There’s a sonic element to this which is one of the most important parts. The SubPac-ish system is cool, but what is most interesting is the audio and music processing. Since the suit can be used in a club with a pre-existing audio system or just on its own we have defined three ways to listen to music.

One way is by using the integrated external mics to feed the internal speakers, kinda like when you go to the bank and talk to the cashier. Another one would be more like a silent disco, where the DJ or FOH [front of house sound] directly streams pure audio to the different Micrashell suits out there.

The final one is kind of a mix of the two — a direct feed from the DJ gets processed using spatial and psychoacoustic rules, so the audio that the user perceives feels more realistic and “club-like” even if the club doesn’t have a PA. At the end of the day, it’s a way of tricking the brain to make everything more real and immersive, as being inside of the suit will isolate you on some level.

Honestly, this clip is probably more relevant now than when it was made. I’m sure I’m far from the first person to reference it in the context of privacy or personal listening technology.

I saw some other specific sound features, you’re proposing — machine learning analyses of sounds, or a “software system that allows you to control the audio levels of different sources individually”?

The part of this you can’t see is the fact that you can decide to “not listen” to somebody, based on certain rules that you define. It’s similar to privacy settings on a social network but with audio. So, for example, if you are dancing by yourself and don’t want to be bothered, you could create a rule where only your friends or friends of friends can talk to you. The voice signal is digitally controlled so we can do things like that. Of course there are other [use cases], like having different levels and processing paths for different people or music sources.

Have you constructed any of these elements before, in other contexts? Are you building anything now? (Are you also making cloth masks like so many of us?)

Jajaja, didn’t have the time to make the masks myself, although I do love sewing. 

Regarding having built some of these items before… most of the ideas come from stuff that already exists, or that we have built before, or that we are positive that could be built. Creating a suit that could go “straight into production” was one of our main design constraints since day one. Funny enough, we already created a hi-tech suit for Skrillex’s show years ago, although it had nothing to do with this one. ^_^

In the days of audiences, the crew has also produced futuristic environments for stage shows. Look at all those unprotected people, so close together – wow. ZHU – ‘Dune Tour.’ Stage, lighting, and visual design by Production Club.

Had you already thought of partners who might be up for this, or who might be interested in the concept?

Currently, we are working in our own prototype which is based on what we can get done in-house with our 3D printers (Form [from Formlabs] and Prusa), sewing machines, Arduino [hardware prototyping platform], and Unreal Engine [3D/graphics platform].

But this is actually the right step before anything else; otherwise we won’t be able to tell a potential fabricator or partner what’s really needed or where are they f***ing up. >_< Fortunately, a lot of unexpected people and brands have already contacted us, but there’s not much I can say yet besides that.

Lastly, where are you now? How are you spending the lockdown, especially with events off for a while?

We have temporarily closed our design studio in DTLA [downtown Los Angeles] to comply with the social distancing orders. Physical events are cancelled for a while yes but that’s why we are working to bring em back soon! At this very specific moment, I’m blasting Noisia Radio in my home studio, it’s 1 am, and my two cats are fkn around trying to break shit — actually, one is sleeping, as that’s pretty much all he does, I have realized during this quarantine.

And full specs:

PHONE INTEGRATION
• Seamless integration and suit control based on smartphone app
• Connection provided to charge/recharge phones/devices

VOICE COMMUNICATION
• Wireless voice communication system based on physical proximity and orientation
• Privacy driven communication system based on user-defined rules for social interaction.
Options include:
– Everyone can speak to you
– Only certain groups of people (i.e. people in your contact list)
– Specific people you select
• Software system that allows you to control the audio levels of different sources individually (DJ,
ambiance, friend_1, friend_2, … friend_n)
• Voice subsystem that allows you to modify how your voice is presented/streamed to other
users in real time – think like AR filters for audio – for example vocoder, talkbox, octaver, pitch
modulation, etc.
• Internal (voice) and external (ambiance) microphones

SOUND SYSTEM & AUDIO PROCESSING
• Integrated, controllable internal speaker system that allows you to listen to live music in 3
modes:
– Directly streamed from the DJ/band (dry)
– As an emulation of the room’s sound based on psychoacoustics (wet)
– As a passthrough from the room thanks to the suit’s embedded microphon
• Contact bass speaker cones integrated in the back area to transmit low frequencies under
150hz by direct contact with the user’s body

BASIC NEEDS & SUIT HANDLING
• “Top only” suit design allows the user to wear their normal clothes, use the toilet and engage in
intercourse without being exposed to respiratory risks
• Hand latch system to facilitate dressing and undressing the suit

FASHION ACCESSORIES & ADD-ONS
• Accessible NFC pouch
• Strap system allowing expandable garment to fit people of different sizes
• Quick attachment features across the pouch and suit allowing for add-ons and fashion
customization (i.e. patches, velcro, magnets, hooks)

SUPPLY SYSTEM
• Supply system based on partially disposable canisters allows users to vape and/or drink safely
from your suit. Drink can be alcoholic, non-alcoholic or a liquid meal replacement
• Snap system based on magnets and differentiated plug-in shape makes it easy to plug your
canister in the proper slot
• Remaining amount of drink and vape monitored through canister embedded RGB light and
smartphone app
• This system removes the possibility of being roofied as the drink remains enclosed
inside of a custom canister and not exposed to external agents once the user starts
drinking
• This system allows for pre-made drinks so long lines at the bar could be mitigated or
fully eliminated
• Supply nozzles are controlled from smartphone app and have 4 modes each: clean, fully
deployed, fully retracted and scratch mode (doubles as a stick to allow to reach different
parts of the face)

LIGHTING
User customized monitoring and emotion broadcast lighting system comprised of
several groups of screens and addressable RGBWA SMD LEDs to serve as indicators of
the user’s mood, needs, warnings, messages, desires and more. For example, a rainbow
lighting chase effect across your suit can express joy, while a static red light could
express “busy” or a “green” slowly intermittent shimmering light could express “idle” or
“resting” state

CAMERA
Pan + tilt camera system with RGB LED monitoring has three main functionalities:
– “Camera app” function as an added extra POV camera that connects with your phone to
take snaps and videos
– Proactive computer vision safety recording based on AI analysis of external agents can
be set up to record based on the system’s perceived level of threat or just “trigger
word” that records remotely based on cloud platform
– “Chest eye” system that allows you to see in realtime things that your suit or helmet
subsystems might be occluding

The post Imagine clubbing, space odyssey-style, with this pandemic-proof suit concept appeared first on CDM Create Digital Music.

Broadcast Stations Going Silent – What You Need to Do

Delivered... David Oxenford | Scene | Tue 28 Apr 2020 4:51 pm

Taking a station off the air is often the last resort of a broadcast company in desperate financial times.  While Payroll Protection Act loans have helped many small broadcasters avoid that action even in light of the dramatic decrease in broadcast advertising revenue in the last two months, and some relief may come in areas of the country looking at some reopening of business in the coming weeks, we have still heard of some stations that just can’t manage continued operations in this period of turmoil – either for financial or operational reasons caused by the current health crisis.  If this action is in the cards for your station because of the pandemic or for any other reason including technical failures, do not forget about the FCC requirements for taking a station silent.

When a broadcast station goes silent, it must notify the FCC of that status within 10 days of going off the air.  If the situation will continue for a longer period, a request for Special Temporary Authority providing the reasons for going off the air must be filed within 30 days of going silent.  These STAs are granted for no more than 6 months at a time, so that date should be noted for the filing of any extension that may be needed.  But be careful, as if a station is silent for a full year, Section 312(g) of the Communications Act provides that the license will be cancelled unless the FCC makes an affirmative finding that there are special public interest reasons for not taking that action (a finding made in very rare cases).  When stations resume operations, they must notify the FCC that they are back on the air.  But to be considered back on the air, there must be programming – running a test pattern is insufficient (see the case we wrote about here).  Even with authority to remain silent, there are risks.

As described in cases that we wrote about here and here, stations that are off the air for prolonged periods, even with FCC authority, can risk the loss of their license if they come back on the air for only short periods (to avoid being off the air for a full year), then go silent again.  During the license renewal review that is upcoming in many states, the FCC will look at how long a station has been off the air during the license period and, if it is a significant period, can determine that the station has not served the public interest, or grant a “short-term” renewal for something less than the full eight year term so that the FCC can review the licensee’s performance sooner (see our article here and another article here for examples of such a review).

Similar rules apply to stations that cannot meet the minimum operating schedule required for broadcasters.  Note that there are special minimum operating rules for noncommercial stations requiring fewer hours per day of broadcasting, and allowing stations licensed to educational institutions to be off the air for periods for school holidays and other recess periods when students are not on campus.  The FCC recently stated that schools without students on campus to run their stations during the pandemic can consider themselves to be in such a recess period (see our article here).  But note that there are also risks of forced shared-time operations for noncommercial stations that do not operate regularly.

Also remember that tower lights need to be operating, even if a station is silent.  Know the requirements for any station that is going silent, and be sure that you observe the obligations that the FCC imposes.

News | Bandcamp Plans Further Fee-Waive Days – The Quietus

Delivered... | Scene | Tue 28 Apr 2020 8:00 am
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