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Indian E-music – The right mix of Indian Vibes… » News Feed

Dancing To Revive A Dead Sea: A Review Of Uzbekistan’s First Electronic Music Festival

Delivered... By Yan Matusevich. Photos by Yan Matusevich | Scene | Fri 21 Sep 2018 11:39 am

The post Dancing To Revive A Dead Sea: A Review Of Uzbekistan’s First Electronic Music Festival appeared first on Telekom Electronic Beats.


Delivered... Spacelab - Independent Music and Media | Scene | Fri 21 Sep 2018 1:00 am
The epic convergence in Glastonbury is returning from a fallow year in this year for its next big happening! Get all the details.

Upload music directly to Spotify: streaming giant goes in new direction

Delivered... Peter Kirn | Scene | Thu 20 Sep 2018 7:29 pm

Spotify has begun opening uploading not just to labels and distributors, but individual artists. And the implications of that could be massive, if the service is expanded – or if rivals follow suit.

On reflection, it’s surprising this didn’t happen sooner.

Among major streaming players, currently only SoundCloud lets individual artists upload music directly. Everyone else requires intermediaries, whether that’s labels or distributors. The absurdity of this system is that services like TuneCore have profited off streaming growth. In theory, that might have meant that music selections were more “curated” and less junk showed up online. In reality, though, massive amounts of music get dumped on all the streaming services, funneling money from artists and labels into the coffers of third-party services. That arrangement surely makes no sense for the likes of Spotify, Apple, Google, and others as they look to maximize revenue.

Music Business Worldwide reports that Spotify is starting to change that now:
Spotify opens the floodgates: artists can now upload tracks direct to the streaming platform for FREE

The service is starting small, MBW reports:

The feature currently remains in invite-only beta mode – with a few hundred US artists being ushered in – but Spotify says that, in the future, it will “bring upload to even more artists, labels, and teams”.

The question really is how far they’ll expand. If they use all of Spotify for Artists, as this article implies, then some 200,000 or so verified artist accounts will get the feature. (I’m one of those accounts.) 200,000 artists with direct access to Spotify could change the game for everyone.

The potential losers here are clear. First, there are the distributors. So-called “digital distribution” at this point really amounts to nothing of the sort. While these third parties will get your music out to countless streaming services, for most artists and labels, only the big ones like iTunes and Spotify count to most of their customers. At the entry level, these services often carry hefty ongoing subscription fees while providing little service other than submitting your music. More personalized distributors, meanwhile, often require locking in multi-year contracts. (I, uh, speak from experience on both those counts. It’s awful.)

Even the word “distributor” barely makes sense in the current digital context. Unlike a big stack of vinyl, nothing is actually really getting distributed. More complete management and monetization platforms actually do make sense – plus tools to deal with the morass of social media. Paying a toll to a complicated website to upload music for you? That defies reason.

The second potential loser would clearly be SoundCloud. Once beloved by independent producers and labels, that service hasn’t delivered much on its promise of new features for its creators. (Most recently, they unveiled a weekly playlist that seems cloned from Spotify’s feature.) And SoundCloud’s ongoing popularity with users was dependent of having music that couldn’t be found elsewhere. If artists can upload directly to Spotify, well … uh, game over, SoundCloud. (Yeah, you still might want to upload embeddable players and previews but other services could do that better.)

But all this still remains to be seen. Spotify have tipped their hand with this beta, so others could follow. It’s strange on some level that Spotify beat Apple to the punch – given that Apple makes the hardware (MacBook Pro, iPad) and software (GarageBand, Logic Pro X) a lot of musicians are using. Apple attempted this once with the poorly designed Connect features (touted by Trent Reznor, no less). But its functionality still lags badly, in the form of beta Apple Music for Artists and Apple Music Toolbox.

Just remember how this played out the first time. Spotify reached a critical mass of streaming, and Apple followed. If Spotify really are doing uploads, it seems Apple are next.

Meanwhile, I wouldn’t write off labels or genre-specific stores just yet. If you’re making music in a genre for a more specific audience, dumping your music on Spotify where it’s lost in the long tail is probably exactly what you don’t want to do. Streaming money from the big consumer services just isn’t reaching lesser known artists the way it is the majors and big acts. So I suspect that perversely, the upload feature could lead to an even closer relationship between, say, electronic label producers and labels and services tailored to their needs, like Beatport. (We’re waiting on Beatport’s own subscription offerings soon.)

But does this make sense? It sure does for the streaming service. Giving the actual content makers the tools to upload and control tags and other data should actually reduce labor costs for streaming services, entice more of the people making music, and build catalogs.

And what about you as a music maker? Uh, well… strap in, and we find out.

The post Upload music directly to Spotify: streaming giant goes in new direction appeared first on CDM Create Digital Music.

The new Jaguar cars sound like spaceships, thanks to Richard Devine

Delivered... Peter Kirn | Scene | Thu 20 Sep 2018 2:55 pm

Music, film/TV, games… yes. But another frontier is opening for sound design you might not expect: cars. That has led automaker Jaguar to sound designer Richard Devine, and that in turn means when this Jag accelerates, it sounds like it’s headed into hyperdrive, bound for the outer rim.

Sounds will be another differentiation point of the auto brand experience, a way to set luxury vehicles apart, it’s true. But when it comes to engine noise, there is actually a safety issue. Fully electric cars don’t make the noise that internal combustion engines do, which means you can’t hear them coming – which makes them dangerous.

The cool thing is, manufacturers are finally beginning to consider aesthetics in sound design. And in a world that’s flooded with repetitions of the Windows startup sound, that Nokia theme tune (only mostly driven away by the iPhone), horrible sirens, beeps, and whatnot, this couldn’t come a moment too soon.

Richard Devine has been doing sound design across various industries, from sounds used in films to strange presets you find lurking in your plug-ins (as well as making some great music himself). Now at last he can share publicly that he did sound for the mighty Jaguar, and its all-electric I‑PACE car.

The design team at Jag get to crow about their work in a company blog post:

Here’s how the external sound system works:

The engine acceleration noise is cool, and with good reason – this car may be ecologically minded, but it also does 0 to 60 in 4.5 seconds. (I’m not advertising for Jaguar, though… uh, hey Jag, I accept money. And automobiles. Be in touch.)

Iain Suffield, Acoustics Technical Specialist at Jaguar:
“We have taken a completely blank canvas and worked with electronic musician and sound designer Richard Devine to interpret the design language of the vehicle, to create building blocks of sound we can craft into the I-PACE.”

And they’ve worked on every aspect of the sound: “The Stop/Start noise of the motors, the audible vehicle alert system, the dynamic driving sounds all have been designed completely from scratch.”

From the outside, the car hums. Inside the cabin, you get different sound sets to reward you as you engage “dynamic” mode, and there is manual customization. (Yes, your car has sound sets. I’m waiting until I can drive a car that looks like a LADA on the outside but sounds like the Enterprise-D on the inside. I’ll keep dreaming.)

You can expect major car companies to enlist these sorts of sound departments more frequently, along with other manufacturers of various products keen to engage customers. And since these teams are developing internally, as well as hiring outside creative talent as with Richard Devine, that means more opportunities for music producers and audio engineers.

So the next time you’re obsessing over getting a sound right and layering instead of just dialing in a preset the easy way, think of it as a career investment. It worked for Richard.

Previously on CDM, German maker Audi following a similar path:

Designing the Sound of a Real Car: An Audi, from Silence to Noise [Video]

Plus a homebrewed solution for bicycles:

Velosynth: Bicycle-Mounted Synth is Open Source, Hackable, Potentially Useful

The post The new Jaguar cars sound like spaceships, thanks to Richard Devine appeared first on CDM Create Digital Music.

Ferrite Recording Studio 2.0 is perfect for podcasters

Delivered... Ashley Elsdon | Scene | Thu 20 Sep 2018 12:20 am

Ferrite Recording Studio 2.0 looks like an almost perfect solution for podcasters. Of course, it is essentially designed to be just that, but version 2.0 really does take it up another notch. Here are all the new features for Ferrite 2 Pro customers:

• Customisable 8-band equaliser and spectrum visualiser
• Project Templates to quickly create new episodes
• Import audio files that have more than two channels, and select the channels to use, or split them into separate files
• Prepare your audio for production with auto levelling and noise reduction
• MP3 Chapters can be hidden from the table of contents
• Exporting projects as video now includes chapter art
• Presets can be created for chapters, and for Audio Unit Extensions (where compatible)
• Presets can be moved, renamed and stored on your device, inside Templates, or synced via iCloud
• Set suggested export filenames for projects

Plus there’s good news even if you’re not a pro user:

• Updated UI
• Sort the Library by name, creation date, modification date or duration
• Additional keyboard shortcuts and menu navigation
• Streamlined VoiceOver accessibility
• Performance, user-experience and reliability updates

Ferrite Recording Studio 2.0 is free on the app store, and the Pro upgrade is an IAP costing £28.99:

The post Ferrite Recording Studio 2.0 is perfect for podcasters appeared first on CDM Create Digital Music.

More options for your playful creations in Lily

Delivered... Ashley Elsdon | Scene | Thu 20 Sep 2018 12:16 am

I have mentioned Lily before, but not for some time though. I think that apps that get more people making music are pretty positive, and Lily is fun to play with. It describes itself as “a playful musical experience for people of all ages and musical abilities”. I think it’s pretty accurate too.

In the last couple of versions of Lily there have been some really nice additions to how you can use the app.

Now you can export your recordings of what you make in Lily as high-quality audio files. The export can go to AudioCopy or to any other app that’ll accept audio in. You can also save your video recordings to your device now as well. I especially like that option too.

There are also new instruction hints in the app to help introduce new users to Lily. A playback indicator now shows you where Lily is in its loop. There’s more stuff in this release too, but it’s fixes and other stuff.

Lily is worth checking out in my opinion, if nothing else it’s a very soothing experience

Lily costs $1.99 on the app store now

The post More options for your playful creations in Lily appeared first on CDM Create Digital Music.

DJ Player EM 2.0 brings a host of improvements to the interface

Delivered... Ashley Elsdon | Scene | Wed 19 Sep 2018 10:44 pm

DJ Player EM moves up to version 2, which really is a major update to the app with a set of new user interface layouts.

What’s new in a nutshell:

  • Four main layout options for landscape orientation and one for portrait orientation.
  • “Two Hands” horizontal and vertical layouts for convenient touch use.
  • “Default” horizontal and vertical layouts for other use-cases (such as controllers).
  • Cue points/loops can be displayed together with the Fx controls, without SHIFT.
  • Smaller Fx control pane, option to open the larger Fx view.
  • All mixer controls visible without SHIFT.
  • Artwork displayed over the players with turntablist 4-beats phase indicator.
  • Tap on the artwork to display the track browser over the player.
  • Long tap on the artwork to eject a player.
  • ABCD or CABD layouts and output options for 4 deck configurations.
  • Album info is displayed for each track.
  • Improved text layout in the track browser (automatic large and compact layout).
  • In edit mode, a track will be greyed out if already exists in the other list.
  • Shortening a loop will wait for the perfect moment in beat sync mode if the current playback position is beyond the new loop size.
  • Support for iOS Split View (Multitasking) and Drag-And-Drop.

DJ Player EM 2.0 costs $9.99 on the app store

The post DJ Player EM 2.0 brings a host of improvements to the interface appeared first on CDM Create Digital Music.

Mics that record in “3D” ambisonics are the next big thing

Delivered... Peter Kirn | Scene | Wed 19 Sep 2018 5:56 pm

Call it the virtual reality microphone … or just think of it as an evolution of microphones that capture sounds more as you hear them. But mics purporting to give you 3D recording are arriving in waves – and they could change both immersive sound and how we record music.

Let’s back up from the hype a little bit here. Once we’re talking virtual reality or you’re imagining people in goggles, Lawnmower Man style, we’re skipping ahead to the application of these mic solutions, beyond the mics themselves.

The microphone technology itself may wind up being the future of recording with or without consumers embracing VR tech.

Back in the glorious days of mono audio, a single microphone that captured an entire scene was … well, any single microphone. And in fact, to this day there are plenty of one-mic recording rigs – think voice overs, for instance.

The reason this didn’t satisfy anyone is more about human perception than it is technology. Your ears and brain are able to perceive extremely accurate spatial positioning in more or less a 360-degree sphere through a wide range of frequencies. Plus, the very things that screw up that precise spatial perception – like reflections – contribute to the impact of sound and music in other ways.

And so we have stereo. And with stereo sound delivery, a bunch of two-microphone arrangements become useful ways of capturing spatial information. Eventually, microphone makers work out ways of building integrated capsules with two microphone diaphragms instead of just one, and you get the advantages of two mics in a single housing. Those in turn are especially useful in mobile devices.

So all these buzzwords you’re seeing in mics all of a sudden – “virtual reality,” “three-dimensional” sound, “surround mics,” and “ambisonic mics” are really about extending this idea. They’re single microphones that capture spatial sound, just like those stereo mics, but in a way that gives them more than just two-channel left/right (or mid/center) information. To do that, these solutions have two components:

1. A mic capsule with multiple diaphragms for capturing full-spectrum sound from all directions
2. Software processing so you can decode that directional audio, and (generally speaking) encode it into various surround delivery formats or ambisonic sound

(“Surround” here generally means the multichannel formats beyond just stereo; ambisonics are a standard way of encoding full 360-degree sound information, so not just positioning on the same plane as your ears, but above and below, too.)

The B360 ambisonics encoder from plug-in maker WAVES.

The software encoding is part of what’s interesting here. Once you have a mic that captures 360-degree sound, you can use it in a number of ways. These sorts of mic capsules are useful in modeling different microphones, since you can adjust the capture pattern in software after the fact. So these spherical mics could model different classic mics, in different arrangements, making it seem as though you recorded with multiple mics when you only used one. Just like your computer can become a virtual studio full of gear, that single mic can – in theory, anyway – act like more than one microphone. That may prove useful for production applications other than just “stuff for VR.”

There are a bunch of these microphones showing up all at once. I’m guessing that’s for two reasons – one, a marketing push around VR recording, but two, likely some system-on-a-chip developments that make this possible. (All those Chinese-made components could get hit with hefty US tariffs soon, so we’ll see how that plays out. But I digress.)

Here is a non-comprehensive selection of examples of new or notable 360-degree mics.


Maker: HEAR360, a startup focused on this area

Cost: US$2500

The pitch: Here’s a heavy-duty, serious solution – camera-mountable, “omni-binaural” mic that gives you 8 channels of sound that comes closest to how we hear, complete with head tracking-capable recordings. PS, if you’re wondering which DAW to use – they support Pro Tools and, surprise, Reaper.

Who it’s for: High-end video productions focused on capturing spatial audio with the mic.



Maker: RØDE, collaborating with 40-year veteran of these sorts of mics, Soundfield (acquired by RØDE’s parent in 2016)

Cost: US$999

The pitch: Make full-360, head-trackable recordings in a single mic (records in A-format, converts to B-format) for ambisonic audio you can use across formats. Works with Dolby Atmos, works with loads of DAWs (Reaper and Pro Tools, Cubase and Nuendo, and Logic Pro). 4-channel to the 8-ball’s titular eight, but much cheaper and with more versatile software.

Who it’s for: Studios and producers wanting a moderately-priced, flexible solution right now. Plus it’s a solid mic that lets you change mic patterns at will.

Software matters as does the mic in these applications; RØDE supports DAWs like Cubase/Nuendo, Pro Tools, Reaper, and Logic.



Maker: ZOOM

Cost: US$350

The pitch: ZOOM is making this dead simple – like the GoPro camera of VR mics. 4-capsule ambisonic mic plus 6-axis motion sensor with automatic positioning and level detection promise to make this the set-it-and-forget-it solution. And to make this more mobile, the encoding and recording is included on the device itself. Record ambisonics, stereo inaural, or just use it like a normal stereo mic, all controlled onboard with buttons or using an iOS device as a remote. Your recording is saved on SD cards, even with slate tone and metadata. And you can monitor the 3D sound, sort of, using stereo binaural output of the ambisonic signal (not perfect, but you’ll get the idea).

Who it’s for: YouTube stars wanting to go 3D, obviously, plus one-stop live streaming and music streaming and recording. The big question mark here to me is what’s sacrificed in quality for the low price, but maybe that’s a feature, not a bug, given this area is so new and people want to play around.



Maker: ZYLIA, a Polish startup that IndieGogo-funded its first run last year. But the electronics inside come from Infineon, the German semiconductor giant that spun off of Siemens.

Cost: US$1199 list (Pro) / $699 for the basic model

The pitch: This futuristic football contains some 19 mic capsules to the 4-8 above. But the idea isn’t necessarily VR – instead, Zylia claims they use this technology to automatically separate sound sources from this single device. In other words, put the soccer ball in your studio, and the software separates out your drums, keys, and vocalist. Or get the Pro model and capture 3rd-order ambisonics – with more spatial precision than the other offerings here, if it works as advertised.

Who it’s for: Musicians wanting a new-fangled solution for multichannel recording from just one mic (on the basic model), useful for live recording and education, or people doing 3D recordings wanting the same plug-and-play simplicity and more spatial information.

Oh yeah, also – 69dB signal-to-noise ratio is nothing to sneeze at.

Pro Tools Expert did a review late last year, though I think we soon need a more complete review for the 3D applications.


What did we miss? With this area growing fast, plenty, I suspect, so sound off. This is one big area in mics to watch, for sure – and the latest example that software processing and intelligence will continue to transform music and audio hardware, even if the fundamental hardware components remain the same.

And, uh, I guess we’ll all soon wind up like this guy?

(Photo source, without explanation, is the very useful archives of the ambisonics symposium.

The post Mics that record in “3D” ambisonics are the next big thing appeared first on CDM Create Digital Music.

FCC Decision Illustrates Details of the Application of FCC Foreign Ownership Approval Requirements

Delivered... David Oxenford | Scene | Wed 19 Sep 2018 4:09 pm

In a decision released yesterday, the FCC issued a “remedial declaratory ruling” finding the change in control of stock in a company that owned broadcast stations did not offend the public interest, and that the approval of foreign ownership in the company that controlled broadcast stations above 25% (but capped at 49%) that was issued last year could stay in effect. The reason we’re bringing this case to your attention is because it highlights the specific limitations on a grant of FCC consent issue to foreign ownership above 25% in companies that control broadcast properties. As we wrote here, the FCC has set out specific rules for its approval of foreign investors who can acquire an interest above that level, and what those investors can do once they acquire their interest. What we did not emphasize in that article (or in other articles on this topic, like those here, here and here), only foreign ownership by specific individuals are approved in these declaratory rulings by the FCC. Only ownership by named foreign individuals is approved – not any foreign ownership of the company holding the broadcast interests. Where foreign ownership or control of a company that owns an interest in a company with broadcast stations changes, that change needs FCC approval, even if the same foreign entity still owns the stock but with different controlling owners. That is presumably so that the FCC can assess whether any ownership concerns are raised by any individual control party.

In this case, the broadcast company stock subject to the foreign ownership limits was held by a Trust administered by a Trust committee of Mexican citizens. The Trust was itself held by the Mexican banking subsidiary of a bank organized in the United Kingdom. The approval in this application was for the change in the bank holding the trust to a Mexican subsidiary of a Spanish bank. While the Trust committee stayed the same, the actual trust was held by a different foreign bank, triggering the need for this approval. This case reminds foreign companies who are approved to own more than 25% of a company controlling broadcast assets to be on the alert for any significant ownership or control changes, as those changes will require FCC approval.

Nationwide EAS Test Postponed to October 3; New Filing Dates for ETRS Reports

Delivered... David Oxenford | Scene | Wed 19 Sep 2018 4:06 pm

A Nationwide test of both the wireless and broadcast-based EAS was scheduled for tomorrow, September 20 (see our article here). It has now been postponed until October 3 presumably due to the continuing issues following Hurricane Florence (see notices from the FCC here and from FEMA here). In addition to the postponement of the test, the FCC announced the dates for the filing of the reports that are due after the test. EAS Participants shall file the “day of test” information sought by ETRS Form Two at or before 11:59 PM EDT on October 3. EAS Participants shall file the more detailed post-test data sought by ETRS Form Three on or before November 19. Note the changes and be ready to participate in the rescheduled test and to file the post-test reports.

Клуб: the St Petersburg rail factory that became a visionary nightclub

Delivered... Brooke McCord | Scene | Wed 19 Sep 2018 3:24 pm

Set in an industrial area far outside the city – and with industrial tracks to match - the nightclub Клуб is putting community before music to create a truly beloved space

Ask Sasha Tsereteli, founder of St Petersburg’s DIY nightclub Клуб, what the most important aspect of his club is and you might be surprised. Despite great success serving nights that span a melange of techno, acid, noise and industrial, he says that community comes first and music second. “It’s always been about getting people together, and seeing what happens,” he explains. “There are enough music clubs in the world so we never really positioned ourselves as one – I think that’s one of our best accomplishments. Although you can only afford to say that when your music programme is impeccable.”

Renowned as the duo who first brought international acts to St Petersburg, Sasha Tsereteli and his partner Julia Si had been running parties for a decade before co-founding Клуб (meaning “klub”) in November 2017. Housed within brutalist infrastructure – a former national railway factory – Клуб is not the kind of club you stumble upon by chance. Much like Berlin’s Berghain, it’s set far from civilisation, in an industrial area just outside the city. “Nobody comes here by accident,” says Tsereteli. “It’s nearly impossible, so we never know how many people will attend an event.”

Continue reading...

DJ Richard’s 16 Underrated Tracks Released By ’90s Dutch Techno Label Djax-Up-Beats

Delivered... By DJ Richard | Scene | Wed 19 Sep 2018 11:29 am

The post DJ Richard’s 16 Underrated Tracks Released By ’90s Dutch Techno Label Djax-Up-Beats appeared first on Telekom Electronic Beats.

Gestrument Pro arrives in a week, and it is a quantum leap

Delivered... Ashley Elsdon | Scene | Wed 19 Sep 2018 6:39 am

When the original Gestrument came out it was a revelation. Gestrument was a unique way of creating music that was truly accessible to anyone, and without being patronising, or limiting at all. That wasn’t an easy accomplishment. It was hard. Building on it was always going to be a really tall order, but I think that they’ve actually pulled it off.

I’ve only been trying out Gestrument Pro for a couple of days, but even so my first impressions are excellent and I don’t think that I’ve scratched the surface of what it is capable of. From that perspective it is incredibly exciting.

Play, improvise and compose in real-time within a framework of interactive generative musical systems.

Award-winning composer Jesper Nordin and leading iOS developer Jonatan Liljedahl (Kymatica) has completely re-invented their unique app from 2012 and taken the concept to the next level.

Gestrument Pro takes everything we loved about Gestrument and improves on its original functionality while introducing a host of new features such as multi-touch, recordable automations, advanced scale editing and our unique system of highly tweakable modular generators that define the pitches and rhythms.

With Gestrument Pro you can Play, Improvise and Compose music with deeper levels of personal expression than ever before.

The original Gestrument had pretty amazing depth to it and yet you could play it in just a few seconds. My initial impression of Gestrument Pro is that the same is going to be true, but perhaps even more so. Over the next few days I’ll be spending more time with this app and digging in to find the depths. So expect and update, and with any luck before Gestrument Pro gets released into the wild. For now, here’s what to expect …


  • Up to 16 individual Instruments.
  • Each Instrument can be controlled by any of up to 8 Cursors.
  • Instruments can use internal high quality sounds or play other synthesizers or apps via MIDI.
  • Modular swappable Generators for producing the rhythms and pitches per Instrument, each with their own set of tweakable parameters and settings.
  • 8 performance sliders that each can control one or more parameters in the Instruments and their Generators.
  • A highly flexible modulation system allows assigning Sliders and Cursor position/pressure to any parameter in the Instruments.
  • Advanced microtonal Scale editor with several standard scales included.
  • 8 Scale Slots for fast switching between scales and tonalities during performance.
  • Sliders, Cursors and Scale Slots can be recorded into automated loops, or controlled via MIDI.
  • Supports Inter-App Audio and Audiobus, including host sync for following the hosts transport and tempo.

Gestrument Pro launches on the 25th of September, but you can pre-order now at half price for just $8.99

The post Gestrument Pro arrives in a week, and it is a quantum leap appeared first on CDM Create Digital Music.

Who doesn’t like a bitcrusher right? Now there’s Degrader from Klevgränd produkter AB

Delivered... Ashley Elsdon | Scene | Tue 18 Sep 2018 10:52 pm

Who doesn’t like a decent bitcrusher right? Everyone? Well, definitely me anyway. Now there’s a new option from Klevgränd produkter AB, who’ve brought us some completely excellent audio units such as Haaze, Brusfri, and Kuvert, to name just three.

Now Klevgränd brings us a new FX, Degrader. Degrader is a combined resampler and bit crusher AUv3 plugin. It can be used to simulate the sound of vintage digital gear, such as a lofi-effect or as a plain distortion unit. Since all parameters are fully automatable it’s a handy plugin for creating unique and interesting drops, sweeps and other transitions.

It also comes with a handful of factory presets.

Main Features:

• Resamples between 250 Hz and 96 kHz.
• Low pass filter with different characteristics both pre and post resampling.
• Bit depth can continuously be altered between 3 and 24 bits.
• Additional distortion algorithm.
• Parameter linking (control several parameters with one knob)
• Input and output gain control.
• Dry / Wet mix.
• Several factory presets simulating different vintage gear.

Full documentation available inside the app or at https://klevgrand.se/download/degrader-docs/

NOTE! Degrader is a AUv3 plugin that only works in a AUv3 compliant host like Garageband, AUM, Cubasis, Beatmaker 3, Auria etc.

Degrader costs $7.99 (which is 35% off the normal price of $12.99)

The post Who doesn’t like a bitcrusher right? Now there’s Degrader from Klevgränd produkter AB appeared first on CDM Create Digital Music.

Woodman’s Immaculate Maple Syrup Studio brings us WoodnGate

Delivered... Ashley Elsdon | Scene | Tue 18 Sep 2018 10:19 pm

From Woodman’s Immaculate Maple Syrup Studio, who brought us Woodpressor, comes a new app. The Wood’nGate is an audio gate app which operates both a standalone app supporting IAA (Inter-App Audio) and an AUv3 audio unit plugin. Wood’nGate has familiar controls like “Threshold”, “Attack”, “Sustain”, and “Release” but also has some extra features not found commonly on other gates.

Here’s what to expect:

  • Has separate Open and Close modes
 (e.g. Open with side chain, Close with track audio; Open with Midi, Close with side chain audio)
  • Has 2 side chain channels
 (e.g. Open with Kick, Close with Snare) : insert a WoodnGate in Send mode on the side track.
  • Open and Close can be triggered by Midi commands (Note On, …)
  • Midi Note On Velocity can be used to set the Open Gate Level.
  • Has an ADSR mode
 (Close is only determined by the ADSR timing)
  • Presets can be stored in iCloud Drive (makes them available on all your devices)
  • Includes 2 separate filters : 1 for the Open analysis signal and 1 for the Close analysis signal
  • Presets can be switched with Midi Program Changes.

Wood’nGate costs $8.99

The post Woodman’s Immaculate Maple Syrup Studio brings us WoodnGate appeared first on CDM Create Digital Music.

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