Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » News Feed


Copyright Royalty Board News – Sirius XM Rates Going Up, Some Cable Radio Rates Going Down, and Webcasting Rate Appeal to Be Argued in February

Delivered... David Oxenford | Scene | Fri 15 Dec 2017 6:11 pm

The Copyright Royalty Board issued a notice yesterday, here, that summarized its decision on the sound recording performance royalties for 2018-2022 to be paid by Satellite Radio and “Pre-existing Subscription Services” (“PSS”), essentially Music Choice for its music service usually packaged with cable television subscriptions. The terms associated with the new rates, embodied in the new rules adopted by the CRB, are available here. The CRB announcement states that the Sirius XM rates will be 15.5% of revenue, which represents an increase from the 11% they are paying currently. The terms for these rates set out a means by which Sirius XM can reduce the revenue subject to the royalty by directly licensing music or using pre-1972 sound recordings, the percentage of such songs being determined by determining their percentage of play on Sirius XM Internet radio channels that correspond directly to their satellite service.

By contrast, the rates for Music Choice (and any other similar PSS having been established prior to 1998 when the Digital Millennium Copyright Act was adopted that may still be in existence) decreased from 8.5% of revenue to 7.5%, the rate that had been in effect in 2012. Our article here describes the decision in 2012 setting the current royalty, and the article here summarizes the Court of Appeals decision upholding the 2012 CRB determination.

The full decision setting out the reasoning leading to these new rates is not yet public, as the participating parties will have the opportunity to seek to have portions of the decision redacted from public release to protect confidential business information. It will be very interesting to see the reasoning set out in that decision, as SoundExchange, representing sound recording copyright holders in seeking higher royalties, had based its arguments on a version of the arguments that it had used before – arguing that the proper rate for the royalties could be determined by looking at negotiated rates for interactive music services (like Spotify), then adjusting those rates by economic analysis to determine the value of the noninteractive services provided by companies like Sirius XM by removing the value of the interactivity. That interactive benchmark methodology had been called into question in prior decisions in webcasting cases (see, for instance, out articles here and here). But whether this decision was based on that analysis, or whether it simply was a result of Sirius XM’s better economic performance in recent years, is unknown until the text of the decision is released.

As we have written many times, the satellite radio service and the PSS service both have royalties determined by a standard different from than that applied to webcasting royalty determinations (see our articles here and here on the 801(b) standard). The satellite and PSS services are judged by the factors set out in Section 801(b) of the Copyright Act, which takes into account a number of factors. These factors are used to adjust the rates that would be determined using only the “willing buyer, willing seller” standard applicable to webcasting. These 801(b) factors include the relative contributions of the service and the record companies in creating value, and the interests of the public in receiving access to copyrighted music.  However, in the prior cases decided by the Copyright Royalty Judges using the 801(b) standard, the Judges determined that none of these factors were quantifiable.  Instead, the only 801(b) factor taken into account to lower the royalty below the value that would be established by the “willing buyer, willing seller” standard was the factor that assessed the impact that the royalty would have on the stability of the industry to which the royalty applies. In the past, when satellite radio was facing substantial start-up costs, that factor suggested a downward adjustment, or a rate at the lower end of a zone of reasonableness. It may be that the better recent financial performance of the satellite service resulted in the rates being placed at the higher end of the zone of reasonableness – without full consideration of the “interactive benchmark” urged by SoundExchange.

Similarly, in the last round of royalties, the royalties were increased for the PSS services based on plans for Music Choice to add a number of new music channels. As these new services were not rolled out, or did not become a success, it is possible that the royalty was rolled back to help facilitate the stability of the PSS industry. We are just speculating, and will only know what factors led to the decision when the full text is released, probably in a few weeks.

In the meantime, many forget that the last set of internet radio (webcasting) royalties that went into effect in early 2016 (see our articles here, here and here) are actually still subject to an appeal, where SoundExchange is arguing that the Copyright Royalty Judges erred in their decision by setting the rates too low. The briefs were filed in that case quite some time ago. Just yesterday, it was announced that the oral arguments in the case are scheduled for February 8. Even after the argument, don’t expect a decision for months, but perhaps there will be some indications of the inclination of the Court of Appeals at this early February argument.

And, with all that, notices of intent to participate in the next webcasting case will be due in just over a year to start the proceeding to determine rates for 2021-2026. There is always something to watch for in the music royalty world!

This free phaser from NI is a must, even if you don’t like phasers

Delivered... Peter Kirn | Scene | Fri 15 Dec 2017 4:36 pm

Native Instruments has a free phaser plug-in called Phasis as a holiday special – and, wow, definitely don’t skip this one.

Here’s the deal: as NI do yearly, they’ve got a holiday special going. This year, there’s an e-voucher and a giveaway contest and blah blah — let’s skip to Phasis.

Phasis is a free plug-in (VST, AU, AAX) for Mac and Windows. You’ll need to sign up for the mailing list, then get a serial number to enter into Native Access, NI’s latest all-in-one software for managing licenses and updates. That tool works well, though one note on Windows: look for the phasis.dll file on your hard drive, as I had to manually copy it to the correct VST plug-in folder.

Phasers may call to mind cheesy guitar effects and overused pop sounds, but this one’s different. Here’s how NI describe it:

PHASIS is a brand new phaser. It offers timeless phasing sounds – adding movement, soul, and creative magic to any signal. PHASIS draws inspiration from classic phasers but adds powerful new features for never-heard-before results. The Spread control changes the spacing of the phaser’s notches, for vocal-style effects. Ultra mode pushes modulation to ultra high rates, producing unique FM-esque tones. Download the VST/AU/AAX plug-in for free now!

It’s the combination of the phaser with those notch filters and “ultra” extreme audio rate modulation that produces something genuinely novel. I apply it here to a bland 909 drum loop, and already you get some more radical results:

Holiday Deal or …

Phasis download page

Wow, Windows backwards compatibility has gotten way easier than the Mac… Mac users will need 10.11 or later (10.13 if you use Cubase); Windows runs back to Windows 7. Well, once we find the darned VST plug-in folder. I’ll put it on both my machines. I only wish we’d gotten a Reaktor ensemble here so we could play around with the innards.

The post This free phaser from NI is a must, even if you don’t like phasers appeared first on CDM Create Digital Music.

Stöhnen und Schmatzen: Joke Lanz

Delivered... Thomas Burkhalter from Norient | Scene | Fri 15 Dec 2017 8:00 am

Mit dem Noiseprojekt Sudden Infant befreit der Schweizer Musiker Joke Lanz unterdrückte Körperklänge und erkundet emotionale Grenzbereiche zwischen Trauma und Euphorie. Seine Noise-Sprache ist das Resultat seiner biografischen Prägung und Sozialisierung in den Achtzigerjahren. Aus dem Norient Buch Seismographic Sounds (hier bestellbar).

Joke Lanz live – (Photo © by Thomas Burkhalter)

[Thomas Burkhalter]: Du bist ein erfahrener Noise-Musiker. Vielleicht kannst du diese schwierige Frage beantworten: Wie hängen Musik und Biographie eigentlich zusammen?
[Joke Lanz]: Die Musik, die ich mache hat viel damit zu tun, woher ich komme und wie ich aufgewachsen bin, denke ich. Als ich dreizehn Jahre alt war, hat sich mein Vater freiwillig aus dem Leben verabschiedet. Das hat bei mir viele Fragen und Gefühle ausgelöst. Ich verschrieb mich der Punkmusik: Ihre Einfachheit, Kraft und Körperlichkeit war für mich genau das Richtige, um meinen Schmerz zu verarbeiten und meine Wut rauszulassen. Später bin ich dann bei den Aktionisten gelandet und habe ihre Bücher geradezu verschlungen: über Fluxus, Dada und die Wiener Aktionisten. Die haben wiederum sehr viel Punk drin.

[TB]: Im Ausland stelle ich manchmal die Frage: «Wie prägt Kairo oder Karachi deine Musik?» Zuhause in der Schweiz fühlt sich dieselbe Frage falsch an – sie schreit nach einer klischierten Antwort. Ich frage trotzdem: Wie findet die Schweiz in deiner Musik statt?
[JL]: Ich bin im Mittelland aufgewachsen und habe darum keinen Bezug zur schweizerischen Bergwelt – damit hätten wir es schon, das Klischee. Die Unruhen in den Achtzigern in Zürich haben mich geprägt. Ich habe sie aber nie als etwas Schweizerisches empfunden, denn es gab sie ja zu der Zeit überall. Meine Musik war für mich schon immer eher etwas Weltumspannendes.

[TB]: Bleiben wir also bei Punk und Aktionskunst: Wie hast du sie in deine Musik überführt?
[JL]: Mich faszinieren Klänge, die der Mensch von sich gibt. Das kann Sprache sein oder Körpersounds: Stöhnen, Lachen, Schmatzen und Wut. Das geht ja schon los, wenn ein Säugling anfängt, sich mit irgendwelchen Lauten und dadaistischen Grunzgeräuschen auszudrücken. Ich möchte Klänge ins Rampenlicht stellen, die in unserer Gesellschaft eher tabu sind oder die man sofort unterdrückt. Wenn ein Kind weint oder heftig herumschreit, dann sagt man ja oft sofort: «Pscht, sei still! Schrei nicht so, du nervst die anderen Menschen um dich herum.» Ich versuche diese Klänge zu befreien.

[TB]: Wie bearbeitest du diese Geräusche?
[JL]: In meinem Heimstudio höre ich die Aufnahmen durch und lege die Teile, die ich spannend finde, auf dem Sampler oder Computer ab. Aber ich bin kein Computerfreak. Ich bereite lieber ein paar Sounds und Effekte vor und spiele dann alles live und direkt ein. Ich kenne mich doch: Wenn ich am Computer zigtausend Möglichkeiten habe, die kleinsten Fragmente von Sounds zu bearbeiten und durch Filter zu jagen, dann verliere ich die Energie und die Direktheit. Am liebsten trete ich live auf: Da kommen noch Mimik, Körpersprache und meine Präsenz als Performer dazu. Ich gehe tief in mich selber hinein, hole meine Untiefen hervor und erreiche so auch die Gefühle der Zuschauer. Ich halte ihnen gewissermassen den Spiegel vor.

[TB]: In deinen Performances und Produktionen hört man auch heute noch die Nähe zum Punk. Ist die Auflehnung aus den Achtzigern immer noch da?
[JL]: Zu Beginn war das viel existenzieller. Ich wollte extreme Positionen ausloten und war gegen jegliche musikalischen und gesellschaftlichen Strukturen und Regeln. Heute bin ich ruhiger geworden und kann knapp, sehr knapp von meiner Musik leben. Das geht nur, weil experimentelle Musik nicht mehr nur in irgendwelchen Underground-Kellern stattfindet. Heute ist sie längst vom grossen Kulturkuchen einverleibt. Ich spiele mittlerweile auf Festivals, vor gemischtem Publikum aus drei Generationen. Sie hören sich das an, weil sie es exotisch finden. Meine Musik hat nichts an Sprengkraft verloren, jedoch hat sich die Gesellschaft gegenüber Aussenseiterkulturen stark geöffnet.

Das Interview wurde am 30.3.2011 in Lausanne (Schweiz) geführt. Dieser Text wurde erstmals publiziert im zweiten Norient Buch «Seismographic Sounds». Klicke auf das Bild, um mehr zu erfahren.

Mehr zum Thema auf Norient

> Simon Grab & Thomas Burkhalter: «Noise and Meaning»
> Pirmin Bossart: «Die körperliche Heftigkeit von Joke Lanz»
> Michael Spahr & Thomas Burkhalter: «The Sudden Infant»

The best albums of 2017, No 6: LCD Soundsystem – American Dream

Delivered... Nosheen Iqbal | Scene | Fri 15 Dec 2017 7:00 am

Plot twist! James Murphy and co returned with an exquisite ode to love, musical heroes and middle-age

It was the comeback that was never supposed to be, for a band that were never allowed to disappoint, after they flamboyantly broke up with farewell shows at Madison Square Garden in 2011. The stakes were high: fans had been given an unimpeachable legacy and a perfect ending. Why, went the logic, would James Murphy dare sully the music we loved and adored in the noughties by – plot twist! – making more of it?

Well, because there was more to say. American Dream, for all its declarative intent, didn’t so much chronicle the state of the nation as it does Murphy’s place in it now; the middle-aged cool guy in a middle-aged cool band, lamenting relationships and heroes, love and ageing. It is exquisite. A moody, pulsating epic that wears its references – Berlin-era Bowie, 80s Talking Heads, the entire first decade of DFA Records’ output – without being wearying.

Continue reading...

The best albums of 2017, No 6: LCD Soundsystem – American Dream

Delivered... Nosheen Iqbal | Scene | Fri 15 Dec 2017 7:00 am

Plot twist! James Murphy and co returned with an exquisite ode to love, musical heroes and middle-age

It was the comeback that was never supposed to be, for a band that were never allowed to disappoint, after they flamboyantly broke up with farewell shows at Madison Square Garden in 2011. The stakes were high: fans had been given an unimpeachable legacy and a perfect ending. Why, went the logic, would James Murphy dare sully the music we loved and adored in the noughties by – plot twist! – making more of it?

Well, because there was more to say. American Dream, for all its declarative intent, didn’t so much chronicle the state of the nation as it does Murphy’s place in it now; the middle-aged cool guy in a middle-aged cool band, lamenting relationships and heroes, love and ageing. It is exquisite. A moody, pulsating epic that wears its references – Berlin-era Bowie, 80s Talking Heads, the entire first decade of DFA Records’ output – without being wearying.

Continue reading...

VOODOO EXPERIENCE TICKETS GO ON SALE TOMORROW

Delivered... Spacelab - Independent Music and Media | Scene | Thu 14 Dec 2017 7:30 pm
Voodoo Experience is the greatest that New Orleans has to offer in both a music festival and a goth-inspired Halloween carnival experience! Find out more about the festival and how to get tickets!

What is a Cable System – The Copyright Office Wants to Know

Delivered... David Oxenford | Scene | Thu 14 Dec 2017 6:25 pm

Early this month, the Copyright Office released a Notice of Proposed Rulemaking dealing with two separate but related issues. First, it asks for comments on certain changes in the reporting that cable systems and satellite TV operators provide to the Copyright Office on the programming that they carry – information that is used to provide baseline information for the Copyright Royalty Board to use in its determinations on how the royalties paid by cable systems for the carriage of television stations are distributed to the programmers and content owners that provide programming to the stations.   While certainly the reporting of information used to distribute the royalties paid by cable and satellite for their compulsory license to carry the programming broadcast by TV stations is important, perhaps the more interesting portion of the Notice was the questions that it asked about the definition of a cable system – proposing to adopt the definition of cable systems that exclude Internet-based systems that has been reflected in recent court cases.

We have written about the issue of whether online platforms qualify for the compulsory license to carry television stations many times (see for instance our article here when the issue was first raised by Aereo), when services such as Aereo and FilmOn argued that they could carry television stations on their online platforms without specific consent from the stations as they qualified as cable systems.  These arguments have been consistently rejected by the Courts (see, for instance, our articles here and here) , most recently in the Spring when the 9th Circuit Court of Appeals overturned the one District Court decision that had found that the argument advanced by FilmOn had merit (see our summary of the Ninth Circuit decision here).  The Copyright Office proposes to adopt that definition.

The discussion of the adoption of that definition is rather limited, essentially pointing to the statutory definitions of a cable system that use phrase such as service to “contiguous communities”, “headends”, and other location-specific terminology. In addition, the Notice recaps precedent, both from prior Copyright Office pronouncements on the issue, from the fact that satellite television was not covered by the Section 111 compulsory license that applies to cable (and was given its own compulsory license in other sections of the Copyright Act), and the recent Court decisions that found that Internet services were not within the definition of a “cable system.”

The Notice also proposes to eliminate residual use of the phrase “Grade B contour,” which had previously been used to determine whether cable systems were carrying local television stations or “distant signals” for which they had to pay a higher royalty.  Given the transition to digital, that nomenclature is no longer relevant, as the corresponding digital service is now the “noise limited contour.”  Comments on numerous other proposed changes in the reports filed by cable systems are also proposed.  These comments are due on January 16, with reply comments due by January 30 (see the Notice here establishing the Reply Comment date and allowing for meetings with the Copyright Office staff by interested parties both before and after the comments are filed, as long as “ex parte” statements summarizing the substance of the meetings are filed in the record of the proceeding).

Copyright Office Issues Reminder About Need for Services Seeking Safe Harbor for User-Generated Content Under Section 512 to File in Electronic System by December 31

Delivered... David Oxenford | Scene | Thu 14 Dec 2017 6:23 pm

The Copyright Office yesterday issued a “Final Reminder” to Internet Services that want to be able to assert that they are insulated from Copyright liability for content posted on their sites by third-parties.  Services need to be sure that they have used the Copyright Office’s new online system to the register the names of their designated agents who can be served with take-down notices from copyright owners demanding that content that infringes on intellectual property rights be removed from the website. For that registration to be valid to preserve the “safe harbor” of Section 512 of the Copyright Act for copyright infringement contained in third-party content, electronic registration of the agent for take-down notices must be completed by December 31. Previous registrations done in the Copyright Office’s paper system will no longer be valid after the end of this year.  For more information, see our articles here and here.

Elastic FX lets you route and morph 32 effects on iOS, for $7

Delivered... Peter Kirn | Scene | Thu 14 Dec 2017 5:23 pm

It looks a bit like what would happen if an iPad, a KAOSS Pad, and a plug-in folder had a love child. It’s the new iOS app from the makers of Elastic Drums.

Elastic Drums already had won fans as the indie-developed drum synth / production app released by Mouse on Mars. And inside Elastic Drums, you had a powerful range of effects. So, at some point, lead developer Oliver Greschke had the idea of taking all those effects, and making a standalone multi-effects processor for the iPad.

The result you get, though, is a fully spec’ed-out sound processing powerhouse for iOS: Elastic FX. If you were already using Elastic Drums, you’ll like these effects, too – but now they’ve been reworked, and provide stereo processing (not just mono). You’ll find new effects, too, plus all-new routing options and feedback.

And if you haven’t used Elastic Drums before, Elastic FX promises straight out of the gate to be one of the leading options for processing effects on the iPad.

There are 32 available effects, including modulation, pitch, distortion, filter, delay, reverb, and more.

From those 32 effects, you can assign to one of four effect units.

It’s that four-effect unit that opens up more possibilities. Choose how to route between effects, add feedback, then adjust parameters all at once via X/Y pad (KAOSS-style). That X/Y pad also has phrase recording and automation, of 1-8 bars in length.

There’s additionally a master effects section (which adds 3-band EQ, compressor, and stutter).

From there, you’ve got a load of options to integrate this with your mobile studio:

  • Audiobus 3, Inter-App Audio for working with other apps’ audio (in/out)
  • A built-in audio player so you can quickly audition effects
  • Ableton Link support for jamming and sync, plus time-synced phrase playback and tempo-synced effects (like the delay)
  • Save, load, share user presets
  • MIDI, MIDI learn for parameter control
  • MIDI program change for changing presets

Intro price, iPad only: 7.99€ / US$6.99

http://mominstruments.com/efx/

Demo videos:

And check out this synced-up automation:

The post Elastic FX lets you route and morph 32 effects on iOS, for $7 appeared first on CDM Create Digital Music.

Bastl’s tiny, patchable Kastle now more durable, sounds better

Delivered... Peter Kirn | Scene | Thu 14 Dec 2017 4:31 pm

The tiny, 80 Euro, 8-bit Kastle synth from Bastl just got better. A 1.5 revision updates the case, sound, and features.

First off, in addition to batteries, you can now run on micro USB power.

The case is updated, too. It’s fiberglass instead of acrylic for added durability, and has a slick black matte finish, plus better patch points.

And then there’s sound. Bastl Instruments say they’ve done a total rework on the sound engine, improving smoothness, ranges, and anti-aliasing performance.

Two sound engines running in parallel deliver three new modes: formant synthesis, noise mode, and tonal mode. Plus there are the existing phase modulation, phase distortion, and track & hold modulation, each with new improvements.

Formants: Inspired by the 1865 Helmholz synthesizer, you get combinations of harmonics / vowel sounds.

Noise: This glitchy mode comes from granular playback of a piece of code that’s run from the sound chip – basically an edgy ultra-digital glitched-out wavetable/granular source.

Demo here:

More:

http://www.bastl-instruments.com/instruments/kastle/kastle-v1-5/

I’ll be in Brno, CZ Friday and Saturday this week and catching up with team Bastl, if you’ve got questions for them.

The post Bastl’s tiny, patchable Kastle now more durable, sounds better appeared first on CDM Create Digital Music.

Behringer’s so-called “website glitch” trades credibility for buzz

Delivered... Peter Kirn | Scene | Thu 14 Dec 2017 1:49 pm

The day after Behringer posted a lineup of remakes of classic analog synth and drum machines, the company is calling it an error – and making no promises.

One one level, you can’t blame Behringer. You surely don’t need press conferences at pricey trade shows if you can mess around with buzz spread on forums and social media. And I’m surprised more manufacturers don’t devise some way of using that to their advantage – perhaps more honestly than here.

But you can blame Behringer for dissembling in communication, for setting out to harm competitors, and for mucking about with the trust of customers. All three of those things appear to have happened here.

In short: Behringer are again earning buzz, at the expense of the already questionable credibility of the brand.

Let’s review:

Yesterday, Behringer for the better part of the evening German time published complete product specs for drum machines and synthesizers, across multiple categories on their public website. That included references to a wide array of products from the KORG MS-20 to the Roland 808 and 909 to ARP 2600 and various other historical models.

Then, at 4 am German time, the company published the follow apology/correction or … whatever this is … to their Facebook page:

Dear Friends,
It was brought to our attention that early this morning a rather unfortunate error occurred on the Behringer product page. This error mistakenly posted information for a number of different product design concepts from our product management repository which is contained and part of an automated backend system for our websites. The cause of the error was due to a website glitch and was completely unintentional. The moment we realized the error, we removed the content.
As we are owning the mistake, we also feel it’s necessary to inform the public about this error as a sign of good faith. It was not our intention to mislead customers in any way nor use this as a marketing tool. To be perfectly transparent, the leaked information does not imply any availability at this time or even definitive evidence that we intend to officially develop or deliver these products in the future. At this stage, the leaked products are merely concepts and nothing more.
To be honest we are embarrassed by this glitch and sincerely apologize to you who have been so supportive of our efforts over the years. We greatly appreciate your support and understanding of the situation.

Sorry, assume a few people spit coffee on their computers there. “Automated backend system for our websites”?

This line we’ve heard before, too – that Behringer appears to view teasing products as a kind of trial balloon for measuring demand. The difference is, in the past, at least, they said that was what they were doing – they didn’t do it via a staged site bug.

Let’s talk about why this is problematic.

Fake news? Fake drums? Real Oberheim… Retro Synth Ad.

Behringer are being disingenuous in their communication. More bluntly: it’s very likely that they’re flat-out lying – or at least being tongue-in-cheek about this whole thing. Sure, it’s possible they keep product planning documents in the content management system they use for the site. And maybe then they use the production server for the task rather than a backup. And maybe they somehow automatically, accidentally published that same content to a production server publicly.

Though, if that sequence of events actually happened, uh, to the Web team … wow. Either way:

This encourages customers to delay purchasing competitors. This isn’t just about getting buzz. By hinting that Behringer will have low-cost alternatives of stuff users want, the brand can encourage customers to hold off purchasing shipping products from companies like KORG, Roland, and Moog. Indeed, specifically teasing recognizable products targets those competitors even more explicitly. And there’s anecdotal evidence to think there’s harm there, based on impressions on forums and comments. Even if that isn’t the case, retailers read those same threads, and this can spook them.

Uli Behringer’s extended rants about value and price, which imply (I think unfairly) that competitors’ products should be cheaper, also seems related to this strategy.

Behringer are hurting their own relationship with customers. I actually would encourage those same competitors to focus on this. Behringer are now over-promising in a pretty fantastic way. If they don’t ship this stuff, customers are likely to be disappointed with Behringer, not other companies.

And sure enough —

They’re still not shipping their Model D. Way back in March, Behringer were promising a low-cost Minimoog clone. But that clone still isn’t shipping, or seen on the site here – a fact not lost on social media (or CDM commenters).

They’re not exactly making the Curtis family happy, either. This is what the widow of Doug Curtis had to say about Behringer offering remakes of her late husband’s chips:

We are starting to see authorized chip remakes, however, as a competitors to what Ms. Curtis is referencing here. (COOLAUDIO Semiconductors have made the inexpensive chips that likely formed the basis for the product ideas above.)

Just don’t read too much into this. This understandably has generated a lot of buzz in December, a lull during which most manufacturers are focused on holiday sales, with product announcements mostly paused until late January.

But I think most people wanting a new drum machine, or a Roland Boutique, or KORG’s ARP recreations, or new Eurorack modules, on down the list are likely to go ahead and invest anyway. I think the relationships between those brands and their customers – from the Japanese giants to the one-person Eurorack boutique makers – are safe, too.

If this was (improbably) a mistake, Behringer, fix it. If it wasn’t, well – yeah, expect some of us to question your intentions.

Exclusive reader contest! What’s the most “embarrassing” thing you recently posted to a Website “accidentally” that just happened to make it unintentionally look like some sort of awesome things were happening in your future? Sound off in comments!

The post Behringer’s so-called “website glitch” trades credibility for buzz appeared first on CDM Create Digital Music.

Sofia By Night: 12 Parties Defining The Bulgarian Dance Music Underground

Delivered... By Mira Karadjova. | Scene | Thu 14 Dec 2017 11:54 am

The post Sofia By Night: 12 Parties Defining The Bulgarian Dance Music Underground appeared first on Telekom Electronic Beats.

Akai and Retronyms announce iMPC Pro 2 with audio tracks, AUv3, Link and a whole lot more

Delivered... Ashley Elsdon | Scene | Thu 14 Dec 2017 9:25 am

Retronyms, have just announced the official release of iMPC Pro 2, the next in a line of iMPC apps they’ve delivered (iMPC, iMPC Pro, and iMPC for iPhone). iMPC Pro 2 adds new track types and enhances the drum tracks feature from iMPC Pro. It also brings the addition of vocal tracks, and support for Audio Units. iMPC Pro 2 is in effect a full-fledged song creation tool.

Any Audio Unit app can now be used within iMPC Pro 2. With audio tracks, users can instantaneously time warp, pitch shift, and rearrange their audio clips. Real time manipulation is captured in a simple workflow and users can choose from multiple input sources, including external mic channels, hardware audio interfaces and Inter-App Audio.

iMPC Pro 2 also features a new library of built-in, high-quality sounds. Designed exclusively for iMPC Pro 2, these kits cover popular and cutting-edge genres from world-class sample libraries including ADSR, Rawcutz, SampleTools by Cr2, Niche Audio, and Sample Magic.

In addition, five custom sound packs are available for no extra charge in the AudioCopy Content Store (normal price $35). Essential Club Collection, Classic Cutz, Dub 2 DnB, Melodic Collection, and The Diploma are exclusively curated for iMPC Pro 2, featuring instruments and samples by iconic producers across an array of genres.

Main App Features:

  • Audio track recording (record from built-in mic, external mics, audio interfaces, etc.)
  • Real-time time-stretching and pitch-shifting (warp tracks and clips to match tempo)
  • Ableton Link and Inter-App Audio (IAA) support
  • 64-track mixer with EQ and 4 FX sends (Reverb, Delay, Chorus/Flange and one IAA effect)
  • Redesigned user interface
  • Audio Unit plug-in support
  • AudioCopy and AudioPaste support
  • Directly upload tracks to YouTube
  • Sample audio directly from music player apps such as Spotify
  • New Song Mode makes full song production more intuitive than ever
  • 100% new sound set, with five additional free Sound Packs
  • Advanced waveform editing
  • Enhanced MIDI support
  • 4 Mute Groups
  • Extensive undo/redo capabilities
  • and many more intuitive workflow enhancements

iMPC Pro 2 is available now on The App Store for $24.99. For a limited time only, existing iMPC pro users can upgrade to iMPC Pro 2 for $15.

The post Akai and Retronyms announce iMPC Pro 2 with audio tracks, AUv3, Link and a whole lot more appeared first on CDM Create Digital Music.

BlipCase mobile music gear storage is now half off (USA, CA)

Delivered... Peter Kirn | Scene | Thu 14 Dec 2017 1:21 am

You’ve got the gear. You’ve got the gifts. Now … a place to put it, on the go, or setting up onstage. That’s BlipCase, and in December it’s just $39.95.

BlipCase ships to the USA and Canada in time for Christmas, as long as you order by December 18. (We ship internationally, too, but shipping costs are most affordable in North America.)

Buy now – in stock and shipping – $39.95

You can read our introduction last year when we introduced the system:
BlipCase is a custom solution for toting your compact music gear

And here are some images showing the variety of gear that fits inside:

Buy BlipCase

The post BlipCase mobile music gear storage is now half off (USA, CA) appeared first on CDM Create Digital Music.

Design By Paul releases their first poly synth, called, PolySynth

Delivered... Ashley Elsdon | Scene | Thu 14 Dec 2017 12:59 am

DesignByPaul has brought us quite a few interesting apps since they first set up on the app store. Now they’ve introduced PolySynth, their first polyphonic synthesizer with only 3 note polyphony but apparently packed with vintage analog character.

PolySynth has Audiobus 3 support, IAA (Inter-App Audio) and MIDI-In so you can connect, play and record with other apps.

Main app features:

  • Microtonal tuning
  • 3 note polyphony
  • MIDI note in
  • 24db/Oct MS20 Lowpass filter and resonant highpass
  • Arpeggiator
  • AudioBus
  • Inter App Audio
  • 3x oscillators
  • 2x LFOs
  • 2x ADSR envelopes
  • Delay

PolySynth is an iPad only synth, and costs $4.99 on the app store now:

The post Design By Paul releases their first poly synth, called, PolySynth appeared first on CDM Create Digital Music.

Next Page »
TunePlus Wordpress Theme