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


This Week in Free Stuff: Glitchmachines Sample Pack & Rhythmic Plug-ins

Delivered... Emusician RSS Feed | Scene | Sat 21 Oct 2017 5:22 am
This week’s free tools share the characteristic of unusual, bizarre and/or complex rhythms, but they also offer value to producers who don’t sail the polyrhythmic seas. Safe travels. Glitchmachines S..

FCC Announces That It Will Lift Filing Freeze on TV Station Modification Applications before LPTV/TV Translator Displacement Window

Delivered... David Oxenford | Scene | Fri 20 Oct 2017 5:28 pm

For well over four years, television stations have not been able to file applications to upgrade their technical facilities as the FCC froze such applications as it wanted to preserve a stable database of TV facilities while it conducted the Incentive Auction and implemented the repacking of the TV band. For TV stations affected by the repacking, the FCC has opened two windows allowing repacked stations to change and maximize their technical facilities on their new channels, the second of which will end on November 2 (see our article here). It was generally expected that the next window to open would be one for the filing by LPTV and TV translator stations displaced by the repacking of full-power stations to find new channels on which they could operate. However, the FCC was approached by LPTV and translator advocates who worried that these stations would file their displacement applications, get construction permits and start to construct new facilities on new channels, only to again be displaced when the FCC lifted its freeze on the filing of applications for new facilities by full-power stations not affected by the repacking. They feared that the four years of pent up demand would cause a flood of applications by full-power stations, some of which might displace LPTVs and TV translators on their new displacement channels. To relieve some of that pent up demand by full-power and Class A stations not affected by the repacking, before the LPTV/translator displacement window, the FCC’s Media Bureau yesterday issued a Public Notice announcing that it will temporarily lift the freeze to allow applications by full-power and Class A TV stations that were not affected by the repacking.

The Public Notice does not specify the date for this lifting of the freeze. Instead, that date will be announced in another public notice specifying the limited period during which the freeze will be lifted.  Applications filed after the lifting of the freeze will apparently be processed in the same way as normal minor change applications, on a first-come, first-serve basis. The lifting of the freeze will also allow the FCC to process construction permit applications filed by TV stations before the imposition of the freeze in April 2013 – applications that have been sitting at the FCC since that time.

The Public Notice also recapped the process for filings in the LPTV/translator Displacement Window (which we summarized here and the full FCC notice about those procedures here).  That process includes the following:

  • Sixty days prior to the opening of the Displacement Window, a Public Notice will provide data identifying locations and channels where LPTV/translator stations likely cannot propose displacement facilities because of the presence of existing non-displaced LPTV/translator stations, full power and Class A television stations, and land mobile operations.
  • LPTV/translator stations can now file minor change applications (that is applications proposing a change in power, antenna height or directionality, or transmitter site location as long as the coverage from the new location overlaps with the current service area) which may allow some stations to eliminate the conditions leading to the displacement (e.g. by moving further from a repacked station or by directionalizing their signal away from such a station).
  • To create a stable database for stations filing in the Displacement Window, approximately 30 days before the Public Notice that will precede the Displacement Window, the FCC will issue another Public Notice freezing the filing of minor change applications by LPTV/translator stations. So, if a minor change will eliminate the need to file a displacement application, an LPTV or translator licensee should look at such a filing now, before the new freeze on minor changes is announced.

For LPTVs and TV translators that need to change channels, with the new window for full-power stations following the lifting of the freeze and all of the other procedural hurdles that need to pass, the Displacement Window now looks like it will not occur until at least late in the first quarter or in the second quarter of 2018. But, presumably, stations filing in that window will have a more stable universe of TV stations from which they can plan their displacement applications. Watch for more developments in the coming weeks on all of these matters and start your preparations now (including discussions with your engineers and attorneys about the subtleties of these processes) for figuring how your station can best take advantage of these upcoming filing windows.

 

Celebrate the birthday of an amazing resource with free stuff for Ableton Live

Delivered... Peter Kirn | Scene | Fri 20 Oct 2017 3:02 pm

It’s perhaps the most useful Ableton Live-focused resource on the Web. And we’re celebrating its fifth birthday with exclusive freebies for CDM readers.

To put it plainly, I think this whole music tech business is at its best when it supports those people willing to share their skills and knowledge. And I can think of few better examples of individuals who I’d want to support than Madeleine Bloom. A veteran of Ableton support, she’s an inexhaustible source of wisdom for how to use that tool precisely and creatively.

Sonic Bloom is full of free tips and inspiration, so it’s a great place to start if you’re just stuck and want to feel more comfortable and effective with this ubiquitous tool. From there, you can then go shopping for more advanced courseware, and packs for Live and Max for Live.

Talk about a personal story – Madeleine was able to solve health issues by using revenue from the site.

Five years ago, on October 19, I released the first Ableton Live tutorial on Sonic Bloom. I started it as a resource hub after realising there was a need while working in tech support at Ableton. Since then it has grown into the biggest Ableton related website on the net, with close to 600 articles available in English and German each. And that, even though I was very ill for about half of Sonic Bloom’s existence (I used my troubleshooting skills to figure out my health issues). I often just about managed to keep it going, the positive feedback I keep receiving from Sonic Bloom readers has helped a lot. I’m now looking forward to the next five years and creating more things I’ve dreamt up. I feel like I’m still just getting started.

I can relate to that struggle to make things work independently, and I’m really hugely happy Madeleine stuck it out. So, let’s celebrate a little.

We have a bunch of stuff to give away – including additional creations by Ableton’s Christian Kleine (like the modular Oscillot):

5 Max for Cats Complete Collection (6 packs, 9 devices)
5 Ableton Live & Push Video Course Bundles
5 House Operators Vol. 1
5 Oscillots
5 Pallas
5 Bengal

Feeling unlucky? Hate leaving things to chance? (Ooh, I hear you… I have a tendency to lose such contests!) Fret not – I asked Madeleine to provide one free download for everyone. So everyone who signs up gets a nice House Operator Device. I demonstrate how not to use it (but hey, I was having fun) here, and prove it’s not limited to house music:

And you can go shopping, because through the 25th of October, everything is half off.

Sign up for our giveaway here. By the way, I’d dragged my feet and had some false starts with the email list. I’ve now got a format I think should work perfectly – we’ll get all the big headlines to you in your inbox, plus some of the music I’m listening and tools I’m using, and the latest on our new video streams, so you don’t lose track. That’ll just be once a week, plus the occasional promo deal and giveaway (for more stuff free).

I’m actually rather enjoying email again as alternative to social media, so maybe the time is right.

Good luck with the giveaway. We’ll announce winners on Monday.


http://sonicbloom.net/

The post Celebrate the birthday of an amazing resource with free stuff for Ableton Live appeared first on CDM Create Digital Music.

Here’s What You Missed At Poland’s Avant-Underground Unsound Festival

Delivered... By Chloé Lula. Cover photo by Maja Chiara Faber. | Scene | Fri 20 Oct 2017 12:44 pm

 

 

 

The post Here’s What You Missed At Poland’s Avant-Underground Unsound Festival appeared first on Electronic Beats.

Sounds of Pakistan: Alien Panda Jury

Delivered... Somar Ashkar | Scene | Fri 20 Oct 2017 6:00 am

Music connects people and extends beyond borders – so does the Internet. Through both we are capable of reaching the whole world, enjoying unlimited access to information. We, a group of students, musicologists, and musicians at the Humboldt University of Berlin aimed to reach out to contemporary artists from mostly underground music scenes in Pakistan. An interview with Anaasir aka Alien Panda Jury about his hybrid music project «Mandal».

Daniel Arthur Panjwaneey

Sounds of Pakistan: Part 4 of 4 – Part 1 / Part 2 / Part 3 / Part 4 – Dossier

«The project is about multiculturalism and cross-cultural collaboration.»

[Somar Ashkar]: Your title «Disconnect» is remarkable, especially with regard to its mix between experimental and traditional elements. Any stories explaining this mix?
[Anaasir]: Well, first of all, «Disconnect» is the result of a collaborative project based in Nepal between Kathmandu producer Rajan Shrestha aka Phatcowlee and myself called Anaasir. The idea behind the entire project began with the concept of preserving history through music. The foundations of the track are composed of collected sounds from in and around the area of Patan in Kathmandu, some of which are reduced to a granular state to create rhythms and melodies. The second part of the concept was to include Nepali folk instruments into the projection of modern day music. The Sarangi on the track was played by Kiran Nepali an artist who is striving to keep the art of the Sarangi alive in Nepal since it is currently considered a dying musical skill.

[SA]: Through combining such elements with a short non-western improvisation, do you want to attract audiences not just in Pakistan but also in other countries with similar cultural or musical identities?
[AS]: Absolutely, the entire project is about multiculturalism and cross-cultural collaboration, so that’s very much the aim.

[SA]: After your concert in Berlin, what was your impression and did the interaction with the audience meet your expectations?
[AS]: It was an unreal experience, the audience exceeded my expectations. The thing about playing in a place like Berlin is that every other person makes music in some way or form, I felt that the gap between you as a performer and the listener is very small as compared to other places.

[SA]: Could you give us an idea about the artists – if any – who influenced your music style and are a source of inspiration for you?
[AS]: This would end up being an extremely long list but in a nutshell I’d say just off the surface some of the most important ones would be Pink Floyd, Boards of Canada, Clark, Godspeed you! Black Emperor, Aphex Twin and Tori Amos (to name a few).

Sounds of Pakistan: Part 4 of 4 – Part 1 / Part 2 / Part 3 / Part 4 – Dossier

Read and Listen More on the Web

> Pakistani music streaming service: www.patari.pk

Read More on Norient

> Daniel Arthur Panjwaneey: «Karachi Noise»
> Ali Gul Pir and Taimoor Salahuddin: «When a Rapper Tries To Change the World»
> Asadullah Qureshi: «Underground Noise from Pakistan»
> Wendy Hsu: «Taqwacore: Punk Polyculturalism»

Spotlight on Serum: Pyramind Workshop and Free Tutorials

Delivered... Markkus Rovito | Scene | Fri 20 Oct 2017 1:55 am
Allow me to brag for just a second, because we here at Electronic Musician have been down from day one with the Xfer Records Serum synthesizer plug-in. The advance wavetable synth won a 2014 Electron..

Lindstrøm: It’s Alright Between Us As It Is review – back on track with bubbling beats, jazz piano and goth feathers

Delivered... Ben Beaumont-Thomas | Scene | Thu 19 Oct 2017 10:15 pm

(Smalltown Supersound)

Oslo producer Hans-Peter Lindstrøm, already known for being pretty cosmic, went further out than ever before with his last album, a collaboration with Todd Rundgren that turned them both to spaghetti in a psychedelic black hole. He’s now back out the other side, making his traditional “space disco”, but with some beautiful acid-flashback flourishes. Spire and Tensions evoke cocktail hour at an Ibizan villa, before But Isn’t It and Shinin nicely showcase house and Italo songcraft. All pleasant enough, but Lindstrøm then levels up in the final third, with Drift, a hail of petals that recalls Orbital’s Belfast, and the jazz piano that poignantly destabilises closing tracks Bungl (Like a Ghost) and Under Trees. The former is also invigorated by stark poetry and black-feathery cooing from Jenny Hval, a gothic phantom haunting the club with a gravestone on her back.

Continue reading...

Jessie Ware: Glasshouse review – smooth soul, ramped up when the diva lets loose

Delivered... Hannah J Davies | Scene | Thu 19 Oct 2017 10:00 pm

(PMR/Island)

Emerging at the tail end of the dubstep movement, south London’s Jessie Ware has long been the musical equivalent of a minimalist Scandi clothes store, all restrained vocals thoughtfully draped over barely there electronica. On Glasshouse, she manages to harness her rarely seen diva mode in among the pared-back hallmarks, but the result is a mixed one. Opener – and lead single – Midnight sees her push her vocals in all directions for striking falsetto-propelled soul, while Selfish Love capitalises on the current Latin pop trend in pleasingly classy fashion with no clunky attempts at Spanish. Elsewhere, Sam – co-written with Ed Sheeran – is a four-chord story of finding The One and having her now one-year-old daughter, lifted by Ware’s raw family confessional. Unfortunately, though, there’s plenty of “pleasant-but-insipid” here, such as Slow Me Down and Stay Awake, Wait for Me – both drowned in radio-friendly sultriness – and Your Domino, which feels like a paunchy, overproduced take on 2012 single If You’re Never Gonna Move. Ware is arguably at her best here when she drops the hyper-stylised veneer and gives the pop star lark her best shot, rather than openly hedging those bets.

Continue reading...

SUNDANCE FILM FESTIVAL 2018 TICKETS JUST WENT ON SALE!

Delivered... Spacelab - Independent Music and Media | Scene | Thu 19 Oct 2017 6:45 pm
The Sundance Film Festival is one of the premiere film festivals in the world; it includes both dramatic and documentary films, shorts, panel discussions, installations and performances.

FCC Political Broadcasting Rules for Write-In Candidates

Delivered... David Oxenford | Scene | Thu 19 Oct 2017 3:22 pm

In these last few weeks before the many municipal elections that will be occurring in November in states across the country, I have recently received several questions about a broadcaster’s legal obligations toward write-in candidates who want to run advertising on a radio or television station. Under FCC precedent, all legally qualified candidates (including those running for state and local offices, see our article here) must be provided lowest unit rates, equal opportunities to purchase advertising time matching purchases by their opponents and, when they do buy time, the no censorship rules apply to their ads. For Federal candidates, they also have a right of reasonable access. But is a write-in candidate a “legally qualified candidate?” 

In most cases, the question as to whether a candidate is legally qualified is relatively easy.  The station looks at whether the person has the requisite qualifications for the office that they are seeking (age, residency, citizenship, not a felon, etc.), and then looks to see whether they have qualified for a place on the ballot for the upcoming election or primary.  In most cases, qualifying for a place on the ballot is a function of filing certain papers with a state or local election authority, in some places after having received a certain number of signatures on a petition supporting the candidacy.  Once the local election authority receives the papers (and does whatever evaluation may be required to determine if the filer is qualified for a place on the ballot), a person is legally qualified and entitled to all the FCC political broadcasting rights of a candidate: equal opportunities, no censorship, reasonable access if they are Federal candidates, and lowest unit rates during the limited LUC windows (45 days before a primary and 60 days before a general election).  But, for write-in candidates, there are different rules that are applied, as there is no election authority to certify that the requisite papers have been filed for a place on the ballot.  Instead, in these situations, a person claiming to be a candidate must make a “substantial showing” that he or she is a bona fide candidate – that he has been doing all the things that a candidate for election would do. What does that mean?

Section 73.1940(f) of the Commission’s rules sets out what a substantial showing needs to include.  The rule states:

The term substantial showing of a bona fide candidacy as used in paragraphs (b) of this section means evidence that the person claiming to be a candidate has engaged to a substantial degree in activities commonly associated with political campaigning. Such activities normally would include making campaign speeches, distributing campaign literature, issuing press releases, maintaining a campaign committee, and establishing campaign headquarters (even though the headquarters in some instances might be the residence of the candidate or his or her campaign manager). Not all of the listed activities are necessarily required in each case to demonstrate a substantial showing, and there may be activities not listed herein which would contribute to such a showing.

Stations are entitled to ask a purported candidate to make that substantial showing before they accord the candidate all the rights that he or she might be entitled to under the rules.  Stations will looks at factors including whether the candidate has had campaign rallies. Is the candidate making speeches and campaign appearances throughout the area where the election is being held? Is there campaign literature that is being distributed on his or her behalf? Does the candidate have any campaign offices or campaign workers?  Is the campaign more than a website?  A station is entitled to ask for this evidence, and then needs to review the evidence, probably with the aid of counsel and possibly with the informal advice of the FCC (whose Political Broadcasting Office is usually quite helpful in working through issues like this), to determine whether the write-in candidate meets the substantial showing test.

The determination is very fact based. A few years ago, an individual from a fringe group launched a write-in campaign for Congress in a Missouri district where he resided. As he made speeches in the district, had an office there, and put up signs and passed out literature there (and his campaign was covered by the local print publications), many stations deemed him to be a legally qualified candidate and ran his advertising. A few years later, that same individual purportedly launched a campaign for an open US Senate seat in the same state. But that candidate did nothing to show that he was a bona fide state-wide candidate – showing no evidence of a statewide election campaign. Given the different factual circumstance, the Commission informally determined in that case that he was not a bona fide candidate for the Senate as he had not made a substantial showing of his candidacy for the statewide office.

If the candidate does pass the substantial showing test, then all of the political broadcasting rules apply – just as if the candidate had qualified for a place on the ballot. But if the purported candidate has done nothing more than say “I’m a candidate” and then decided to buy advertising time on a broadcast station, it is likely that the station need not sell him or her advertising time. Again, it depends on the facts of the situation, so analyze those facts carefully and discuss these issues with counsel familiar with the precedent in this area. For more information about political broadcasting rules, see our Guide to Political Broadcasting, here.

Mentors: How Silent Servant Guides Rising Techno DJ Phase Fatale

Delivered... Interview by Chloé Lula. | Scene | Thu 19 Oct 2017 10:33 am

Silent Servant has long been a flagbearer for the contemporary dance floor avant-garde who blends the sounds of warehouse techno, industrial noise and post-punk. His signature brand of minimal wave-indebted techno has exerted a profound influence on the tastes of producers and fans since his initial experiments with Sandwell District 15 years ago, and many rising stars have followed in his musical footsteps. One such artist is Phase Fatale, a New Jersey-born, Berlin-based producer who has garnered attention for a DJing and production technique that weds early ‘80s electronic sensibilities with contemporary techno. His penchant for the style has earned him releases on Silent Servant’s own Jealous God label and the Ostgut Ton sub-imprint, A-TON—not to mention regular bookings at Berghain.

The two producers have collaborated more frequently over the last few years and have performed together at shows like Berlin Atonal. For our latest Mentors column, we sat down with them to discuss their shared musical pasts, the influence they’ve exerted on each other’s productions and their recent collaborative 12-inch, Redeemer, which came out on Vatican Shadow’s Hospital Productions on October 13.

Phase Fatale: A lot of the music that influenced me the most came from the Wierd parties in New York—they happened weekly at Home Sweet Home. It was the coldwave and minimal synth party in the States that was bringing this sound over from Europe that had already been going on for years—since the ‘80s.

Silent Servant: I worked in advertising for a long time, so even when I was living in LA I would go to New York for work, and I’d also end up at the Wierd parties. I didn’t know anybody. I would literally just go and sit in the corner and listen to music. But there’s a similar party in LA. We had Part-Time Punks. The thing with Wierd, though, is that the guy running it, Pieter Schoolwerth, also had a record label for the whole thing, so there was a very stable music community that revolved around it. A lot of those same bands would play in LA. So the connection was there. Pretty much all of the stuff that he did and the bands that he brought out would come play with us in LA. And I would DJ at Part-Time Punks a bunch, too, so it was the same thing happening on both coasts.

PF: I think the thing about Wierd—or Part-Time Punks—is that there’s an aesthetic approach to it. It’s not just a traditional goth party that plays The Cure. It was something that dug really deep and was super nerdy, but at the same time it was very eccentric and had an almost club kid vibe to it.

SS: Yeah, exactly. I think it became a place where you could listen to really good music that you wouldn’t hear anywhere else. You could hear any minimal synth band or goth thing that we’re into. I don’t pretend to be super goth or anything, but a lot of the appeal of this music aesthetic for me is that it’s what I grew up with. I’m a little older—I saw the end of the ‘80s—and I saw my older brother go to all of these new wave clubs. I always really wanted to experience that. LA has always had a lot going on in that scene. So as I got older, it just became a part of me.

PF: Yeah, the same goes for me. My dad was involved in the scene in the ‘80s, mostly with new wave and goth and post-punk bands, so when I was little he kind of drilled this music into my head. We listened to a lot of new wave and post-punk bands in the backseat of the car. So I grew up with a lot of music that most people in my generation didn’t have exposure to. I actually remember the first time I walked into Wierd. I was completely underage; I wasn’t even 18. I just remember walking in there and hearing these songs that my parents used to play for me when I was a kid and I would always just listen to them at home. When I walked in there, though, I was like, “Woah, they’re playing this song in here?” I never thought that existed outside, because of course when I was younger, I wasn’t going to bars.

SS: We actually met at one of these things. It was some weird-ass party that Martial Canterel was playing. It was just one of those things that you experience with certain people where you see someone and you’re like, “You kind of look like me,” or you have some other commonalities from a visual standpoint, and then you realize that you have commonalities from a musical standpoint that’s totally outside the techno stuff. And for me, that’s even more of a connecting point.

PF: Yeah, it’s more interesting when you can find strange common ground. We ran into each other a few times in the last few years, and then we ended up working together after all of these small meetings. Our first “collaboration” was the Grain EP on aufnahme + wiedergabe, but I don’t even know if you could call it a collaboration since we didn’t work on it together—I just sort of threw him the stems.

SS: Yeah, I remixed that and then kind of forgot about it, and then I started hearing it out a lot and was like, “Oh, cool!”

PF: I guess the first real collaboration of ours was the 2016 Atonal performance. We decided to make something special rather than just each of us playing solo again, which happens all the time.

SS: There were already certain influences that I really wanted to be part of it, but you were like, “Oh yeah, totally.”

PF: Yeah, I think what was nice about it was that we were able to pull from different references that we love but that we wouldn’t use our own selves as solo artists because they didn’t fit into our individual sonic palettes. But together we were able to expand and make something a little more referential by combining different elements.

SS: But at the same time I think that because of the way we mixed it, it still didn’t sound that referential, which is kind of cool. For me it was about experimenting with types of rhythmic patterns and shit that I don’t normally use. Then I made some stuff, and you made some stuff, and we spent, like, two days piecing it all together.

PF: There was even one part we made that was a KR-55 drum beat that I had sequenced, and we were like, “What would happen if we just mashed them together?”

SS: We were like, “Yeah that’s kind of cool!”

PF: It actually ended up becoming a whole song that changes and everything. It was completely not premeditated at all.

SS: Yeah, the set was a lot of happy accidents. But I think that’s also a testament to the fact that two people who work in similar contexts can be completely different, but that the references are kind of similar, you know. That’s why I started working with you—because I was like, “You know what’s up in my world, and we get along.” You just find commonalities and are like, “I can also be friends with this person.” There are some people, you know, you meet them and it’s strictly music, because you probably wouldn’t hang out with them normally. But in this context it’s cool, because I think of you as a friend. Plus we have these root aesthetic commonalities. Working together is not hard. It feels very natural.

PF: In order to work with somebody closely like we do, there has to be more than just music, obviously.

SS: You’re spending a lot of time with that person. It won’t work if you want to kill them at the end of the day. The only person I’ve really, really worked a lot with before is Karl—Regis. Karl has been such a big mentor for me. If it wasn’t for him, my life would be different. He literally just plucked me up and was like, “Come work with us,” and I was like, “Okay!” For me it’s like, trying to find the payback. And it’s not like, “I have to give back to the community!” I just think it’s really special when people are provided opportunities that you can give.

PF: I don’t think that having a mentor is necessarily critical to learning the ropes, but it’s really nice when you can find someone who will help you. This scene is so large and it can seem so daunting—there are so many different places where you could fit yourself into it. It’s good to find someone who’s already done things that you want to do and who shares your mindset.

SS: I think it’s more about finding people who culturally inspire you, because then it becomes a two-way street. As much as I talk to you, I get as much back from you just being enthusiastic and providing some perspective.

PF: People working in techno especially can be really insular. I’m coming from playing in bands and stuff where you’re always working with people, and they’ll tell you, “Your playing sucks. You’ve gotta try this.” It’s actually good criticism, even if you don’t agree with it. You always need another perspective, otherwise you can’t develop.

SS: A mutual respect has to be there too, though. There has to be a common respect to let people do what they do and give them new ideas.

PF: The 12-inch of edits coming out with Redeemer was actually your idea, because you did it for your release on Hospital Records in 2012. It turned out to be a really awesome idea. We just sat in my studio for, like, two days and went through the album together. My tracks tend to be so dense, but you have a more minimalist sensibility that works out really nicely in a dance floor setting because there’s more space and your tracks mix a little better. So you were like, “Take this out, take this out, make this longer.” Just through that short process, I garnered so much about how to better arrange a track for the dance floor. Before I just threw everything in, and now I know more about space and how to have different elements come in and out and small details that I can make way more intense rather than just turning everything up to 11.

SS: That’s something that I learned a lot from Karl. He’s really good at arranging. It’s not like I’m that good at it or anything, but especially when I’m DJing, it’s like, “Where are these parts going to go where I can mix in or out?” It was the first time for me being on the other side and helping someone in that way. Because when I worked with Karl, he just showed me and I just watched.

PF: It was great to go through this process of conceptualizing and then editing it technically. I also worked on it a bit faster than usual, which was good. Otherwise I dwell on stupid details that don’t matter. In the end, if you start screwing with something too much, you make it worse than it was before. It’s always the case. The first take is always the best take, so they say.

SS: That’s an interesting element to the music that we’re making—there’s almost an element of immediacy. And I think that’s why bands like Suicide are so good. There’s this immediacy to it that you feel right away. If you keep fiddling with things then a track can become too refined and sterile.

PF: In the end, I saw Redeemer as a way to put together all of the references that I love, like all of these past musical influences that I could summon up and recreate in my own statement and sound. It takes the Jealous God records and the sounds that were created there and transforms them into a new thing by using more guitar and vocals. So I’m going back to my band background and making something you really couldn’t do on a three-song 12-inch. It feels like I closed one thing and now I’m moving onto the next stage of my evolution. It was the perfect time for Dominick [Fernow]—Vatican Shadow—to ask me to work on it, because so many things are changing for me right now. This record closes one door and lets me continue.

Read more: Return To Wave: Helena Hauff Talks To Veronica Vasicka

The post Mentors: How Silent Servant Guides Rising Techno DJ Phase Fatale appeared first on Electronic Beats.

Mackie’s New Big Knob Series of Monitor Controllers Now Shipping

Delivered... Emusician RSS Feed | Scene | Wed 18 Oct 2017 11:17 pm
Woodinville, WA - October 2017 — The next generation of Mackie's highly acclaimed Big Knob monitor controllers is now shipping worldwide. The newly expanded Big Knob series includes three models -Big..

S-Modular is the latest modular synth for iOS, but the first semi-modular

Delivered... Ashley Elsdon | Scene | Wed 18 Oct 2017 9:30 pm

Let’s face it, modular is very popular and it has been for quite a while now. In the mobile world we’ve had a few modular synths and some really spectacular ones in that group. Now we add a new app to the list. S-Modular is a semi modular synthesizer for your iPad. I’m not sure that I’ve seen an app that quite described itself that way before. S-Modular comes from the developer behind PRFORM, WubSynth and Synth Automata, although they have many more in their portfolio.

According to the developer:

S-Modular has been designed to have everything on one screen to make patching quick and easy. Drag from one jack port to another to make a connection, tap a plugged port to change the wires color instantly.

S-Modular has a unique and vintage sound quality, reminiscent of synthesizers from the 70s, warm and rich in character.

Here’s a quick view of the app’s features

  • Audiobus 3
  • IAA (Inter-App Audio)
  • 2x oscillators
  • 24db/oct ladder filter
  • Resonant hi-pass and low-pass filter
  • 2x LFO
  • 4 step cv sequencer
  • 4 track Mixer
  • Audio and cv spliter
  • 2x AHR envelope generators
  • Delay

I have to say that it looks really interesting and I’m quite tempted to go take a look and see what it’s like.

S-Modular costs just $3.99 on the app store now:

And finally here’s what it sounds like …

The post S-Modular is the latest modular synth for iOS, but the first semi-modular appeared first on CDM Create Digital Music.

Court Rejects Appeal of FCC Decision Not to Mandate Multilingual EAS Alerts – Highlighting Requirement that Broadcasters Report To Their SECC in Early November About Emergency Information to Non-English Speakers

Delivered... David Oxenford | Scene | Wed 18 Oct 2017 5:08 pm

The United States Court of Appeals yesterday issued an order denied the appeal of an FCC order that rejected a requirement that multilingual EAS alerts be provided in every market.  We wrote about the FCC’s proceeding here and here. The Court upheld the FCC’s decision as reasonable, finding that the Commission did not have enough evidence to determine how such alerts should be implemented on a nationwide basis, and noting that the FCC was still reviewing whether to adopt requirements that broadcasters provide alerts in languages other than English in the future. That decision should serve as a reminder that in the FCC order rejecting the call to mandate multilingual EAS alerts in all markets, the Commission did call for broadcasters to supply more information – information that is due in early November.

In 2016, when the FCC rejected the imposition of multilingual EAS alerts, they imposed an obligation on broadcast stations to report to their State Emergency Coordinating Committees (“SECC”) information about what the stations are doing to implement multilingual EAS – including a description of any plans they have to implement such alerts in the future, and whether or not there are significant populations of non-English speaking groups in their communities that would need such alerts. We wrote about that obligation here. The one year deadline would seem to be November 3, one year after the FCC’s order was published in the Federal Register (though an FCC small-business compliance guide summarizing the obligations, released in August, available here, states on the top of page 3 that the deadline is November 6).  In any event, given the Court’s decision relying on the FCC gathering information about the provision of emergency alerts to non-English speaking communities, it is important that stations provide their SECCs by early November.  The FCC’s Small Business Compliance Guide is a good summary of what is required.

Yesterday’s Court decision was a 2-1 decision, with a dissenting judge finding that the FCC already had asked for information about multilingual EAS alerts several times, and did not get it. The dissenting judge thought that the Court should have found that the FCC was unreasonable in once again saying that they were looking for more information with no guarantee that they would receive that information. This dissent highlights the importance that seems to be placed on the upcoming submission of this information to state EAS committees.

Broadcasters need to find out who heads their SECC, and get them the information about multilingual EAS alerts in the next few weeks, so that the SECCs can review their state EAS plans and, where necessary, make changes by next May based on the information in the November reporting, so that broadcasters can better serve non-English speaking populations with emergency alerts.

Let’s talk craft and vision in live audiovisual performance, media art

Delivered... Peter Kirn | Labels,Scene | Wed 18 Oct 2017 2:23 pm

We’re gathering with top digital media artists this week – and you can tune in. Here’s a preview of their work, on the eve of Lunchmeat Festival, Prague.

Transmedia work and live visual performance exist at sometimes awkward intersections, caught between economies of the art world and music industry, between academia and festivals. They mix techniques and histories that aren’t always entirely compatible – or at least that can be demanding in combination. But the fields of media art and live visuals also represent areas of tremendous potential for innovation – where artists can explore immersive media, saturate senses, and apply buzzword-friendly technologies from AI to VR in experimental, surprising ways.

Our goal: bring together some artists for some deep discussion. And we have a great venue in which to do it. Prague’s Lunchmeat Festival has exploded on the international scene. Even sandwiched against Unsound Festival in Krakow and ADE in Amsterdam, it’s started to earn attention and big lineups, thanks to the intrepid work of an underground Czech collective. (The rest of the year, the Lunchmeat crew can usually be found doing installations and live visual club work of their own.)

Heck, even the fact that I’m stumbling over how to word this says something about the hybrid forms we’re describing, from live cinema to machine learning-infused art.

Since most of you won’t be in Prague this week, we’ll livestream and archive those conversations for the whole world.

Follow the event on Facebook for the schedule and add CDM to your Facebook likes to get a notification when our video starts, and stay tuned to CDM for the latest updates.

To whet your appetite (hopefully), here’s a look at the cast of characters involved:

Katerina Blahutova [DVDJ NNS]

Let’s start for a change with the home Prague team. Katerina is a great example of a new generation of artists coming from outside conventional pathways as far as discipline. She graduated in architecture and urbanism, then shifted that interest (consciously or otherwise) to transforming whole club and performance environments. She’s been a VJ and curator with Lunchmeat, designed releases and videos for Genot Centre (as well as graphic design for bands), then went on to co-found LOLLAB collective and tour with MIDI LIDI.

Don’t miss her poppy, saturated, post-Internet surrealism – hyperreality with concoctions of slime and object, opaque luminosities and lushly-colored, fragmented textures. (I can rip off this bit of the program; I wrote it originally!)

Oh yeah, and she made this nice teaser loop for this week’s festivities:

teaser loop from upcoming vj set for @malumzkole at @lunchmeat_cz #dvdjnns #wip

A post shared by Katla / DVDJ NNS (@katlanns) on

Ignazio Mortellaro [Stroboscopic Artefacts, Roots in Heaven]

Turn that saturation knob all the way down again, and step into the world of Stroboscopic Artefacts. Ignazio is the visual imagination behind all of that label’s distinctive look, from album design (as beautifully exhibited) to videos. He’ll be talking to us about that ongoing collaboration.

In addition, Ignazio is doing live visuals for a fresh project. Allow me to quote myself:

Roots in Heaven, a label owner and accomplished solo artist hidden behind a mesh mask and feathers, joins visualist Ignazio Mortellaro to present a new live audiovisual work. This comes on the heals of this year’s Roots in Heaven debut record “Petites Madeleines” (a Proust reference), out on K7! offshoot Zehnin. The result is a journey into “concentrated sensory impression” in sound, light, and sensation.

Gregory Eden [Clark]

One of the goals Lunchmeat’s curators and I discussed was elevating the visibility of people working on visual materials. But unlike the ‘front man’/’front woman’ role of a lot of the music artists, the position some of these people fill goes beyond just sole artist to broader management and production. Maybe that’s even more reason to pay attention to who they are and how they work.

Greg Eden, who’s at Lunchmeat with Clark, is a great example. With a university physics degree, he went on to Warp, where he developed Clark and Boards of Canada. He’s now full-time managing Clark, and in addition to that … uh, full time job … manages Nathan Fake (with visuals by Flat-e) and Gajek and Finn McNicholas.

Visuals are often synonymous with just “something on a projector,” live cinema-style. But Clark’s show is full-on stage show. For the stage adaptation of Death Peak, the artist works with choreographer Melanie Lane, dancers Kiani Del Valle and Sophia Ndaba, and lights from London’s Flat-E. Think of it as rave theater. That makes Greg’s role doubly interesting, as someone has to pull all of this together:

Novi_sad [with Ryoichi Kurokawa, SIRENS]

The collaboration between Novi_sad and Ryoichi Kurokawa is one of the more important ones of the moment, its nervous, quivering economic data visualization a fitting expression of our anxious zeitgeist. Here’s a glimpse of that work:

Ryoichi Kurokawa and Novi_sad have worked together to produce an audiovisual show in five etudes that produces a dramaturgy of data, weaving the numbers of the economic downturn into poignant, emotional narrative. Data and sound quiver and dematerialize in eerie, mournful tableaus, re-imagining the sound works of Richard Chartier, CM von Hausswolff, Jacob Kirkegaard, Helge Sten, and Rebecca Foon. Novi_sad is self-taught composer Thanasis Kaproulias, himself coming not only from the nation that has borne the brunt of Europe’s crisis, but holding a degree in economics. As a perfect foil to his sonic landscapes, Japan’s Ryoichi Kurokawa has made a name in expressive, exposed digital minimalism.

Marcel Weber (MFO) [Ben Frost] / Theresa Baumgartner [Jlin]

Ben Frost is already interesting from a collaborative standpoint, having worked with media like dance (Chunky Move, Wayne McGregor). The collaboration with MFO brings him together with one of Europe’s leading visual practitioners; Marcel will join us to talk about that but hopefully about his work for the likes of Berlin Atonal Festival, as well.

MFO has also designed the visuals for the sensational Jlin, but Theresa Baumgartner is touring with it – as well as working on production for Boiler Room. So, we have Theresa joining us from something of the in-the-trenches production perspective, as well.

Gene Kogan

VJing and live cinema are rooted in conventional compositing and processing. Even when they’re digital, we’re talking techniques mostly developed decades ago.

For something further afield, Gene Kogan will take us on a journey into deep generative work, machine learning and the new aesthetics that become possible with it. As AI begins to infuse itself with digital media, artists are indeed grappling with its potential. Gene is offering talks and workshops both here at Lunchmeat and at Ableton Loop next month, so now is a great time to check in with him. A bit about him:

Gene Kogan is an artist and a programmer who is interested in generative systems, artificial intelligence, and software for creativity and self-expression. He is a collaborator within numerous open-source software projects, and leads workshops and demonstrations on topics at the intersection of code and art. Gene initiated and contributes to ml4a, a free book about machine learning for artists, activists, and citizen scientists. He regularly publishes video lectures, writings, and tutorials to facilitate a greater public understanding of the topic.

I’ll be reviewing the resources he has for artists soon, too, so do stay tuned.

Gabriela Prochazka

Also coming from Prague, Gabriela has been guiding the INPUT program for Lunchmeat this fall, as well as being one of my collaborators (our installation is part of the exhibition this week). Its contents are mysterious so far, but a live AV work with Gabriela and Dné is also on tap.

See you in Prague or on the Internet, everyone!

Follow the event on Facebook for the schedule and add CDM to your Facebook likes to get a notification when our video starts, and stay tuned to CDM for the latest updates.

http://lunchmeatfestival.cz/2017/

The post Let’s talk craft and vision in live audiovisual performance, media art appeared first on CDM Create Digital Music.

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