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

This new Indian electronic music genre is fusing religion and politics – CNN

Delivered... | Scene | Sun 13 Jan 2019 3:47 am
This new Indian electronic music genre is fusing religion and politics  CNN

Bhakti Vibration is an intense new style of electronic music known for remixing speeches by religious leaders, Bollywood stars and politicians, including Indian ...

Haken’s ContinuuMini is expressive, post-keyboard sound for $899

Delivered... Peter Kirn | Scene | Fri 11 Jan 2019 7:20 pm

Want some evidence that the future of expressive digital instruments and MPE is bright? Look to Haken’s ContinuuMini, which emerged over last year, bringing greater portability and a US$899 price to the out-there controller.

Forget anything else, and listen to this gorgeous video (using a clever setup with an Onde acoustic resonator*:

Why does the ContinuuMini matter?

Expression really is a combination of sound and physical control. Say what you will about piano keyboards (and some electronic musicians who hate them certainly do) – the reason an acoustic piano is still expressive has to do with the sound of a piano.

So when we talk about MPE, a scheme for allowing polyphonic expression through MIDI, we’re really talking about allow greater depth in the connection of physical gestures and sound.

If this is going to catch on, it’ll require more than one vendor. I think it’s wrong to assume MPE’s future, then, is tied solely to ROLI as a vendor. From the start, MPE was an initiative of a range of people, from major software developers (Apple, Steinberg) to hardware inventors (ROLI, but also Roger Linn and Randy Jones of Madrona Labs, for instance).

And Haken Audio has been a boutique maker pushing new ways of playing for years – including with MPE on their Continuum. The Continuum may look arcane in photos, but feeling it is a unique experience. The ribbon feels luxurious – it’s actually soft fabric. And the degree of control is something special. But it’s also enormous and expensive – and that means a lot of people can’t buy it, or can’t tour with it since it won’t fit in an overhead.

I believe that what makes an instrument is really finding that handful of people to do stuff even the creators didn’t expect, so if you can lower those barriers for even a run of a few hundred units, you could have a small revolution on your hand.

That’s what Haken have done with ContinuuMini, which closed crowd sourcing late last year and has started shipping of the first hardware.

Here’s what sets it apart:

It’s a Continuum. Well, first, nothing else feels like a Continuum. That feeling may not be for everyone, but it’s still significant as a choice.

It’s continuous. Because you aren’t limited by frets or keys, there’s a continuous range of sound. This is a controller you’ll want to practice, finding intonation with muscle memory and your ear. And there are artists who will want that subtlety.

It has internal sound. Like its larger sibling the ContinuuMini has an internal sound engine. That means that it’s not just a controller. Haken have conceived control and sound in a single, unified design. You can play it without connecting other stuff. And the builders have worked on both the physical and aural experience of what they’ve made. I think that’s significant to anyone making an investment, particularly in an age in which abstract controller hardware tends to stack in our closets.

It’s 8-voice polyphonic, as well. The ContinuuMini isn’t just a controller: it’s a complete, gorgeous polysynth and a controller, for this one price.

It connects to other gear, without software. Bidirectional digital control – MIDI, with MPE, MPE+ – and bidirectional control voltage analog (with converter) are possible. That means you can play the ContinuuMini with gear and software (like recording MIDI and MPE in your DAW for playback), and likewise the ContinuuMini can control your software and gear. There are also two pedal inputs so your feet can get in on the action.

It’s only a quarter kilogram. 9 oz. You can tote the bigger ones with a case but – the ContinuuMini is incredibly portable.

It feels like an extraordinary development.


* Synthtopia has a great, in-depth interview on the Onde and Pyramid, acoustic resonators that make an electronic instrument feel more like an instrument and less like “something disconnected that produces sound through speakers” as with conventional monitors:

La Voix Du Luthier & The New Shape Of Electronic Sound

The post Haken’s ContinuuMini is expressive, post-keyboard sound for $899 appeared first on CDM Create Digital Music.

Copyright Royalty Board Final Decision on Rates for Business Establishment Services

Delivered... David Oxenford | Scene | Fri 11 Jan 2019 4:51 pm

In one of those year-end decisions that got lost in the holiday rush, in late November, the Copyright Royalty Board issued its final ruling on the rates to be paid to SoundExchange by “business establishment services” for the ephemeral copies of sound recordings when these music services transmit programming to their customers. We wrote about the CRB’s proposal to adopt these rules in May of last year, and our comments on the decision remain relevant to explaining this order. A slightly revised version of our May post follows.

While Copyright Royalty Board decisions on royalties for webcasters, Sirius XM and mechanical royalties get most of the attention, the CRB also sets rates paid by “business establishment services” for the “ephemeral copies” made in their music businesses. Business establishment services are the companies that provide music to businesses to play in retail stores, restaurants and other commercial establishments. These services have come a long way from the elevator music that once was so derided – and now set the mood in all sorts of businesses with formats as varied as the commercial businesses themselves.  While the rates paid by these services pay for music rights is a little off-topic for this blog, these rates are a bit unusual, so they are worth mentioning.  The Copyright Royalty Board in May announced a proposed settlement between the services that were participating in the CRB case and SoundExchange which will raise the rates gradually from the current 12.5% of revenue to 13.5% over the next 5 years, with a minimum annual fee of $20,000, up from $10,000. These rates, which apply to any company that does not negotiate direct royalties with the sound recording copyright holders, went into effect on January 1, 2019 and will be in place through 2023.

We have written about the rates paid by these services before (see for instance our articles here, here and here).  What makes them unusual is that the royalties are not paid to SoundExchange for the public performance of sound recordings, as are the royalties paid by other digital music services including webcasters (here and here) or Sirius XM.  That is because, in adopting Section 114 of the Copyright Act, Congress did not want to impose on businesses a new performance right, as there is no general public performance right in sound recordings in the United States.  Businesses and other services that do not digitally transmit performances of audio recordings have no obligation to pay copyright holders in the sound recordings (usually the record companies) or artists for the public performance of music.  Users do, however, pay fees for the public performance of the underlying composition through ASCAP, BMI and SESAC and GMR.  As we wrote here, the Register of Copyrights has in the past suggested that a general public performance right in sound recordings should be paid in the United States. But that would impose new fees on all businesses that use recorded music in the US, from stadiums playing “We Will Rock You” at the appropriate point in a big game, to DJs spinning their discs in nightclubs, to the trendy tunes playing in the hip clothing retail stores, to over-the-air radio. This proposal is therefore very controversial.  So, if they are not paying public performance fees, why do background music services have to pay SoundExchange?

Payments are made for the “ephemeral copies” made by these services, and paid under Section 112 of the Copyright Act.  Ephemeral copies are those copies made in the digital transmission process – everything from the server copies that the music services make in their music storage systems when they put the programming together to the copies made elsewhere on the Internet as these tunes make their way to the ultimate user.  If a retailer just wanted to play CDs in its stores, there would be no SoundExchange liability as there would be no ephemeral copies (though, except where very limited uses of music are made pursuant to very strictly defined exceptions under the Copyright Act, there would still be an obligation to pay ASCAP, BMI and SESAC and GMR for the performance of their musical works i.e. the underlying lyrics and music of a song – see our article here).  But the digital transmission makes the difference and requires that the companies providing these digital music services pay these business establishment license fees.

The rates themselves are interesting, in that they are so high for the making of copies that are essentially transitory.  As we have written before, there are debates as to whether these ephemeral copies really have any independent value at all.  In connection with royalties for other digital music services, they are in effect treated as part of the performance royalty, and are usually just a percentage (under 10%) of that royalty.  But, in connection with the Business Establishment Service, where they are the entire royalty, the rate is 12.5%-13.5% of the entire revenue of the business – presumably just a way of getting a performance royalty by a different name. These rates have all been set through settlements between the parties – presumably as the parties don’t want to face the huge costs of litigating for an uncertain outcome, so these theoretical issues have never been tested.

So business establishment services – those music services digitally providing music to commercial establishments to use in their businesses, need to be aware of the new royalties and the higher fees that kicked in on January 1, 2019.

Richard Youngs: Memory Ain’t No Decay review – into the edgelands with a musical gem

Delivered... Ben Beaumont-Thomas | Scene | Fri 11 Jan 2019 10:30 am

(Wayside & Woodland)

As many musicians fret, vacillate and self-medicate their way out of actually writing their next record, Richard Youngs just gets on with it. The Scotland-based singer-songwriter, operating since the early 90s, has released 17 albums in the last two years alone (not including collaborations such as the brilliant Scottish disco supergroup Amor) and has three more out this month, with Memory Ain’t No Decay joined soon by Onder/Stroom, a collaboration with Dutch electronic producers Frans de Waard and Peter Johan Nÿland, and another solo album, Dissident. His quavering yet strident voice is a bright silver thread through British music; his singing style, somewhere between conversation and benediction, recalls everything from sea shanties to Gaelic psalm singing, Mark E Smith to the Blue Nile’s Paul Buchanan. The neatest description of him probably comes in the title of his 2005 album The Naive Shaman.

Memory Ain’t No Decay’s three songs begin with the 15-minute stunner Edge of Everywhere. A blues guitar scratches rhythmically under a softer, echo-treated electric line, a combination that would be almost Balearic if it didn’t keep tripping up and going out of time – a technique that keeps the song constantly alive and alert. Youngs gives it one of his more spiritual vocal lines, even slightly reminiscent of devotional Punjabi singing. Still Learning is powered by a strummed guitar line that scans as generic on first listen, but extended over 11 minutes, its campfire familiarity becomes lulling, even meditative, topped with a kindly song from Youngs. The shorter Not My Eyes has an uncertain mass of bass tones and fingerpicking held together by steady plucking. Charged by Wayside & Woodland’s label head to consider the voguish psychogeographical concept of “edgelands” – spaces between the urban and rural – it would have been easy for Youngs to lapse into bland wonderment, but he ends up affirming that nature is both beautiful and impulsive.

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Sharon Van Etten: Remind Me Tomorrow review – assured, gorgeous electro-tinged progression

Delivered... Rachel Aroesti | Scene | Fri 11 Jan 2019 10:00 am


Like all of Sharon Van Etten’s previous albums, 2014’s Are We There was preoccupied by a prior toxic relationship – co-dependency couched in a sour combination of abuse and affection. Its follow-up opens with a track that references that period of disquieting soul-baring in the form of a meta-confessional: I Told You Everything has Van Etten divulging the details of her traumatic past to a sympathetic new partner, but not the listener. It’s a move that acknowledges the musician’s suffering but also inches the story forward, hinting that the New Jersey native has a different life now (a suggestion confirmed by her hectic-sounding recent biography: over the past four years she has had a child, taken up acting and started studying for a degree in counselling). Change is something echoed in the sound of Remind Me Tomorrow too, a collection that sees Van Etten edge away from her trademark guitar and towards drones, piano and vintage synths.

Related: Sharon Van Etten: ‘The more I let go, the more I progress as a human being’

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The birth of Asian underground: ‘This music was for us and by us, and that was very powerful’

Delivered... Ammar Kalia | Scene | Fri 11 Jan 2019 9:00 am

Twenty years ago a new movement blending eastern sounds with electro and drum’n’bass arrived to give a generation of young British Asians a vibrant new voice. Why did it fade away so quickly?

When most Brits think of Asian music – if they do at all – they might conjure a twanging sitar and the high-pitched vocals of a Bollywood dance sequence blaring in an Indian restaurant, or the meditative chimes and chanting of a yoga session. In reality, of course, Asian music is a vast and diverse series of musical disciplines, and one that had been reduced, in the UK, to the reserve of anoraks and first-generation immigrants. But in the 90s, a scene came along to change all of that.

Twenty years ago, the Asian underground was born. A product of the first wave of Asian immigration into the UK in the early 60s and their children growing up in a newly diversifying society – one imbued with the racism of the National Front, as well as with a burgeoning multiculturalism from the Caribbean and west Africa – the music these first-generation British Asians made was full of internal tension. It was a mix of Indian classical instrumentals, Bollywood singing, jazz and the 90s club sounds of dub, drum’n’bass and jungle.

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Delivered... Spacelab - Independent Music and Media | Scene | Fri 11 Jan 2019 2:00 am
Paradiso Festival will return to Gorge Amphitheater in June of 2019! Get the details, including when tickets will be announced!

FCC Releases Draft Order to Abolish FCC Form 397 Mid-Term EEO Report

Delivered... David Oxenford | Scene | Thu 10 Jan 2019 6:26 pm

Along with the draft NPRM we wrote about yesterday to consider changes to the FCC’s rules for granting new construction permits for noncommercial stations and LPFMs, the FCC last week issued another draft order to be considered at its January 30 meeting, assuming that the partial government shutdown has been resolved and the FCC has returned to normal operations. This draft order would adopt the FCC’s proposal advanced last year (see our article here) to abolish the filing of the FCC Form 397 Mid-Term EEO Report, as that form is no longer necessary as the information gathered by the form is now largely available in every broadcasters online public file – which the FCC can review at any time. As the information is already available, the draft order concludes that it is redundant to separately file that same information in a Form 397.

The Form 397 requires the filing of a licensee’s last two Annual EEO Public Inspection file reports. These are documents available in the online public file. The Form 397 also requires the name of person at the station who is in charge of EEO matters. The FCC says that this information is already generally available in the public file, both through an EEO Form 396 filed with the station’s last license renewal, and through the general station contact for questions about the website. The only information that would not be readily apparent from the online public file is whether or not the station is part of a station employment unit (a station or group of commonly owned stations serving the same general service area and sharing at least one common employee) subject to a Mid-Term EEO review. Any TV station who prepares an EEO Public Inspection File Report would be subject to a Mid-Term review as the law requires such review for all TV stations with 5 or more full-time employees – the same employee threshold at which a station must prepare a EEO Public Inspection File Report. But for radio, the Public Inspection File Report must be prepared if the employment unit has 5 or more full-time employees, while a Mid-Term Report is only triggered for radio if the employment unit has 11 or more full-time employees. To inform the FCC as to whether a station is still subject to Mid-Term review, the FCC will require, when a radio station uploads its Annual EEO Public Inspection file report, that it tell the FCC whether or not it is part of an employment unit with 11 or more full-time employees.

This makes clear a fact (stated explicitly elsewhere in the draft order) that the FCC will continue to conduct EEO Mid-Term reviews, even if the Form 397 is no longer required. The FCC conducts reviews of broadcast station’s EEO performance at the time of the filing of the license renewal application, in these Mid-Term Reports, and as a result of random audits, which 5% of all broadcast stations go through each year (see our article here about the last random audit). See our article here on the basics of broadcasters EEO obligations, as updated here by the FCC’s changes in its requirements for the wide-dissemination of information about station job openings.

If adopted at the January meeting, these changes will not go into effect until May 1. In the interim, TV stations in New York and New Jersey will still need to file their Form 397s by February 1 (assuming the FCC has reopened by then) and TV stations in Delaware and Pennsylvania will need to file their Form 397 reports on April 1, 2019. Radio is past the mid-term for all license renewals, with the first set of new radio renewal applications due to be filed in June of this year (see our artilce here on getting ready for license renewal) – with TV to begin filing in June of 2020. So, if adopted at the January meeting, the real effect of this rule change will not be felt until 2023, when radio next reaches the mid-term of the renewal cycle.

Reloop’s new RP-8000 MK2: instrumental pitch control, Serato integration

Delivered... Peter Kirn | Scene | Thu 10 Jan 2019 6:20 pm

Like the relaunched Technics 1200, the new Reloop decks sport digitally controlled motors. But Reloop have gone somewhere very different from Technics: platters that can be controlled at a full range of pitches, and even play scales. And the RP-8000 MK2 is a MIDI controller, too, for Serato and other software.

Oh yeah, and one other thing – Reloop as always is more affordable – a pair of RP-8000 MK2s costs the same as one SL-1200 MK7. (One deck is EUR600 / USD700 / GBP525).

And there’s a trend beyond these decks. Mechanical engineers rejoice – the age of the motor is here.

238668 Reloop RP-8000 MK2

We’re seeing digitally controlled motors for haptic feedback, as on the new Native Instruments S4 DJ controllers. And we’re seeing digital control on motors providing greater reliability, more precision, and broader ranges of speed on conventional turntables.

So digitally controlled motors were what Technics was boasting earlier this week with their SL-1200 MK7, which they say borrows from Blu-Ray drive technology (Technics is a Panasonic brand).

Reloop have gone one step further on the RP-8000 MK2. “Platter Play” rotates the turntable platter at different speeds to produce different pitches – rapidly. You can use the colored pads on the turntable, or connect an external MIDI keyboard.

That gives the pads a new life, as something integral to the turntable instead of just a set of triggers for software. (I’m checking with Reloop to find out if the performance pads require Serato to work, but either way, they do actually impact the platter rotation – it’s a physical result.)

238668 Reloop RP-8000 MK2

Serato and Reloop have built a close relationship with turntablists; this lets them build the vinyl deck into a more versatile instrument. It’s still an analog/mechanical device, but with a greater range of playing options thanks to digital tech under the hook. Call it digital-kinetic-mechanical.

Also digital: the pitch fader Reloop. (Reloop call it “high-resolution.”) Set it to +- 8% (hello Technics-style pitch), or +/- 16% for a wider range (hello, Romanian techno, -16%), or an insane +/- 50%. That’s the actual platter speed we’re talking here. (Makes sense – platters on CDs and Blu-Ray spin far, far faster.)

With quartz lock on, the same mechanism will simply play your records more accurately at a steady pitch (0%).

The pitch fader and motor mechanism are both available on the RP-7000 MK2, for more traditional turntable operation The performance pad melodic control is on the 8000, the one intended for Serato users.

Serato integration

I expect some people want their controller and their deck separate – playing vinyl means bringing actual vinyl records, and playing digital means using a controller and computer, or for many people, just a USB stick and CDJs.

If you want that, you can grab the RP-7000 MK2 for just 500 bucks a deck, minus the controller features.

On the RP-8000 MK2, you get a deck that adds digital features you’ve seen on controllers and CDJs directly on the deck. As on the original RP-8000, Reloop are the first to offer Serato integration. And it’s implemented as MIDI, so you can work with third-party software as well. The market is obviously DVS users.

The original RP offered Cue, Loop, Sample and Slicer modes with triggers on the left-hand side. Plus you get a digital readout above the pitch fader.

On the MK2, the numeric display gives you even more feedback: pitch, BPM, deck assignment, scales and notes, elapsed/remaining time of current track, plus firmware settings.

New playback and platter control options on the Reloop RP-8000 MK2.

The pads have new performance modes, too: Cue, Sampler, Saved Loops, Pitch Play, Loop, Loop Roll, Slicer, and two user-assignable modes (for whatever functions you want).

Reloop have also upgraded the tone arm base for greater reliability and more adjustments.

And those performance modes look great – 22 scales and 34 notes, plus up to 9 user-defined scales.

For more integration, Reloop are also offering the Reloop Elite, a DVS-focused mixer with a bunch of I/O, displays that integrate with the software, and more RGB-colored performance triggers and other shortcuts.


One of these things is not like the others: the new kit still requires a laptop to run Serato.

If I had any complaint, it’s this: when will Serato do their own standalone embedded hardware in place of the computer? I know many DJs are glad to bring a computer – and Reloop claims the controls on the deck eliminate the need for a standalone controller (plus they have that new mixer with still more Serato integration). But it seems still a bummer to have to buy and maintain a PC or Mac laptop as part of the deal. And if you’re laying out a couple grand on hardware, wouldn’t you be willing to buy an embedded solution that let you work without a computer? (Especially since Serato is an integrated environment, and would run on embedded machines. Why not stick an ARM board in there to run those displays and just read your music off USB?)

As for Reloop, they’re totally killing it with affordable turntables. If you just want some vinyl playback and basic DJing for your home or studio, in December they also unveiled the RP-2000 USB MK2. USB interface (for digitization or DVS control), direct drive control (so you can scratch on it), under 300 bucks.


Previously in phonographs:

The Technics SL-1200 is back, and this time for DJs again

The post Reloop’s new RP-8000 MK2: instrumental pitch control, Serato integration appeared first on CDM Create Digital Music.

A Profane Religion

Delivered... Oliver Seibt | Scene | Thu 10 Jan 2019 5:00 pm

In the Japanese «aidoru bunka» (idol culture), grown men kneel down to mimic their infantile stars. When watching Kyoko Miyake's film Toyko Idols, musicologist Oliver Seibt sees a strong connection between this ritual and the sacred - which has a potential to create a sense of belonging. The film will be screened on January 11, 2019, at the 9th Norient Musikfilm Festival in Bern.

Filmstill: Tokyo Idols (Kyoko Miyake, Japan 2017)

According to Emile Durkheim, founding father of French sociology, there is one thing that all religions in the world have in common: the fundamental distinction between the profane and the sacred. As diverse its manifestations in various religions throughout history might be, for him it is the sacred that creates community.

It might be no coincidence that the most striking community in Japan’s contemporary society are the millions of men desiring young, often female idols: The term «idol» describes a person that is strongly admired. As a technical term in religious studies, it stands for a sacred item being worshipped. There couldn’t be a more suitable term for the social arrangement that originated in Japan in the 1970s as «アイドル文化» («aidoru bunka», idol culture).

This idol culture often does not shy away from fulfilling any thinkable male fantasy, as journalist Minori Kitahara puts it in the documentary Toyko Idols. In light of the behavior exhibited by some of the fans in the film, it appears obvious that pedophile desire fuels the adoration of the very young idols.

Filmstill: Tokyo Idols (Kyoko Miyake, Japan 2017)

Like A Worship Service

However, Kyoko Miyake’s film also shows that it definitely isn’t the only motivation. Kitahara’s claim that the significantly older male fans expect to be loved and accepted by the young girls, without making any efforts, is in obvious contrast to the enormous emotional and bodily work that «otaku» (nerds), like 43-year old Koji, invest into their fandom. For example, the fans of the artist Rio, a «karaoke box», bow down on their knees in front of a huge television set showing their «idol» Rio, the image reminiscent of a worship service, especially when you see them ecstatically singing together and synchronously performing the prescribed dance patterns («para-para») during one of Rio’s live shows.

Rio calls on her fans to «believe», to «make a pilgrimage», and to «pray». She speaks of her followers as «her children», whom she «equally loves». Like a priest who doesn’t favor or reject any of his community members, Rio pays equal attention to all of her fans so that they don’t have to compete for her regard. As a sacred gesture, this has important social implications. At the end of the film, Koji explains that being together with his «brothers» means not having to worry about social distinctions and obligations. If he weren’t part of what he calls «a religion», he would be «alone forever».


9th Norient Musikfilm Festival 2019


Delivered... Spacelab - Independent Music and Media | Scene | Thu 10 Jan 2019 4:15 pm
Twenty One Pilots, Travis Scott and Tame Impala headline! Odesza, Logic, Greta Van Fleet, Anderson.Paak, Hozier, Janelle Monáe and Brandi Carlile also top the lineup!

Future Music Superhero

Delivered... Christophe Jaquet | Scene | Thu 10 Jan 2019 12:50 pm

The radical musician, thinker, hacker, philanthrope, activist, and curious figure, Goodiepal, twists our expectations regarding art and pop music. Goodiepal saved me from being depressed about the future of music. This is a fan confession. At the Norient Musikfilm Festival on January 10, the movie «The Goodiepal Equation» by Sami Sänpäkkilä will be screened. Afterwards, Goodiepal & Pals will perform live at Rössli.

Filmstill: The Goodiepal Equation (Sami Sänpäkkilä, Finland 2017)

Personally, I suffered a lot observing an artistic world where compromise has become the norm because I still believe that art and music can be innovative and can matter. I even stopped listening to music at one point because everything that was presented as groundbreaking and new was simply a small variation of something that already existed. But the Danish/Faroese electronic musician, Goodiepal, awakened my interest in music again. Goodiepal made me discover another aspect of music: an inimitable and playful DIY style. Music doesn’t have to be songs or tracks. It does not even need to be heard.

For me, Goodiepal is a hero, because he seems to be the last artist who refuses to sell out by complying with the restrictions of the art world – not to mention the ones of the music industry – where you always have to show a finished product and transform yourself into a product: something expected, understandable, recognizable, sellable, with no space left for surprise or challenge. Goodiepal is the opposite: his art is alive.

The Adventures of an Activist

Recently, Goodiepal decided to stop touring alone and form his first Band: Goodiepal & Pals. This Tel-Rock-Band inadvertently became a political band while touring Europe, often taking on the role of human smugglers, riot provokers, and action gamers. Their intent is to create protest music, while helping refugees during the ongoing migrant crisis: all the money the band makes goes straight to stranded refugees. So today it seems Goodiepal is fighting to save the world.

Goodiepal & Pals

Goodiepal is also an adventure of every instant, for himself and for the ones who live around him. Goodiepal has put together an exhibition for the National Museum of Denmark comprising all his material possessions. He rides thousands of kilometres on a self-built bicycle. And every time he is on the verge of reaching success and fame he blows it completely by changing everything that has worked for him so far.

Every time he has to do something mundane (such as traveling, spending money, living in a house, becoming a father or whatever) he turns it into an experiment. Life is art and art is life. It’s easy to imagine, that this behavior makes him quite difficult to follow, and therefore his career resembles a long suicidal path. What will he present to us in Switzerland? As unpredictable as he is, we don’t know. Goodiepal stays a mystery. And my superhero. And we are excited.


9th Norient Musikfilm Festival 2019


Delivered... Spacelab - Independent Music and Media | Scene | Wed 9 Jan 2019 7:00 pm
Edie Brickell and New Bohemians, Priests, Yung Lean, Angie McMahon, Kevin George, Two People, Jvcki Wai and KOKOKO!, all top the lineup additions!

FCC to Examine the Process for Awarding Construction Permits for New NCE and LPFM Stations – And Some of the Rules that Apply Once a New Noncommercial CP is Awarded

Delivered... David Oxenford | Scene | Wed 9 Jan 2019 6:00 pm

As we wrote on Friday, the government shutdown affects many aspects of FCC operations – and could affect the ability of the FCC to hold its regular monthly meeting, now scheduled for January 30. With the FCC likely shut down for most of this week, just before closing, the FCC released its agenda for the January 30 meeting (which would normally have been released this week – 3 weeks before the meeting). One interesting item on the agenda was a Notice of Proposed Rulemaking to change certain aspects of the criteria used to evaluate applicants for new noncommercial broadcast stations and LPFMs, and the operations of those new stations after a construction permit is issued. The draft NPRM is here. As with all draft items released with the agenda of an upcoming FCC meeting, the draft is subject to change before that meeting.

It appears that the NPRM was not prompted by any single group representing noncommercial broadcasters, but instead raises a number of issues and problems that have been raised before the FCC in comparative cases in the last decade, which use a “points system” process to determine which mutually-exclusive noncommercial applicant should have its application granted. The point system relies on paper hearings to determine which applicant has the most points, awarding applicants preferences on factors such as whether they have few other broadcast interests, whether they are local organizations, and whether they are part of state-wide networks. The NPRM also looks at the restrictions on what successful applicants can do, once they receive their construction permits to build new stations – including the length of LPFM CPs, the transferability of those CPs, and restrictions imposed on changes to certain NCE technical facilities after a CP grant.

The FCC looks for comments on the following issues:

  • Whether it should eliminate the current requirement that NCE applicants include in their governing documents specific provisions obligating the applicant to maintain localism and diversity in order to receive points as “established local applicants” and for “diversity of ownership.”  The current obligation requires that applicants, to receive a “diversity credit” in their application, need to have articles of incorporation or by-laws that specifically state that they cannot acquire new stations that would affect the credit they received in the FCC review of the applications. Localism must be maintained by provisions in organizational documents restricting the residence of board members. The FCC suggests that these obligations are unnecessary – the actual conduct of the applicant can be weighed by the FCC whether or not the company’s governing documents contain explicit restrictions.
  • Can the FCC improve the NCE tie-breaker process and reform the process for establishing mandatory time-sharing plans where ties in the comparative process remain? Full-power NCE station applicants who are tied in the FCC points system end up in a tie-breaker process (see, for instance, our article here that discusses the process). Where that process does not produce a clear winner, according to the NPRM, parties are often allowed to negotiate for years over the terms of a time-sharing agreement before the FCC intervenes to force a sharing arrangement. The FCC asks if there should be a hard time limit on sharing negotiations. Should the FCC set the sharing restrictions if there is no resolution? Should there be circumstances where, if no settlements can be reached, all applicants should be dismissed? The Commission notes that in the LPFM process, a more definitive process exists for forcing time sharing, and asks if portions of that process should apply to full-power NCEs as well. Minor changes to the LPFM time sharing process are also proposed.
  • Should the FCC clarify aspects of the “holding period” during which NCE permittees must maintain the characteristics for which they received comparative preferences.  One of the specific issues to be reviewed is the requirement that, if an applicant receives a “307(b) preference” for serving areas that have no noncommercial service or service from only one other noncommercial station, the applicant cannot change transmitter sites where it would lose service to some or all of the areas of proposed coverage for which it received a preference, even if that lost service is made up by service to new noncommercial white or grey areas. This restriction has prevented some successful noncommercial applications from constructing their new stations when proposed transmitter sites became unavailable and no alternative sites covering the exact same underserved areas were available.
  • The FCC proposes to reclassify as “minor” (1) all ownership changes to governmental applicants, provided that the change has little or no effect on such applicant’s mission, and (2) gradual board changes in non-stock and membership LPFM and NCE applicants.  This eliminates issues that sometimes arise with long-pending applications when gradual Board changes result in a majority of the governing board of an applicant changing, which under FCC processing rules would result in a dismissal of an application. The FCC has from time to time been forced to waive that rule (for instance in connection with the processing of applications from the 2003 FM translator window that ended up being dealt with in settlements more than a decade after they were filed). In the case of existing NCE stations, the FCC has taken the position that gradual changes in the Board of an applicant do not require a “long-form” transfer application that would otherwise apply to a major change in ownership (see our article here). The FCC is proposing to apply the same rules to the processing of applications for new stations.
  • The FCC proposes to eliminate certain tolling notification requirements and toll NCE and LPFM broadcast construction deadlines without notification from the permittee, based on certain pleadings pending before, or actions taken by, the agency. Currently, an applicant has to ask the FCC for tolling to stop the clock on the expiration of a CP from running. Inexperienced applicants acting without counsel often don’t realize that they need to request tolling, as do applicants who wrongly think that a tolling event may be able to be resolved quickly. By forgetting to ask for tolling, these permittees can lose out on potential time in which to construct their new stations.
  • The FCC proposes to extend LPFM construction permits from 18-months to a full three years, the same period that applies to other construction permits (a construction period which LPFM permittees can currently receive – but they have to timely request such extensions at the end of the initial 18 month construction period).
  • The FCC proposes to eliminate the current rules prohibiting the sale of unbuilt LPFM construction permits and requiring a 3-year holding period for newly licensed LPFM stations. The FCC proposes instead to allow the assignment/transfer of LPFM permits and stations after an 18-month holding period as long certain safeguards are met – including that there is no profit in the sale and as long as the new owner satisfies all FCC eligibility criteria (including offering the same comparative attributes as the original applicant if the CP was granted after a point-system analysis).

Interested parties will have the opportunity to comment on these proposals once the FCC adopts the final NPRM and the NPRM is published in the Federal Register. Theoretically, interested parties can now ask the FCC to make changes in the NPRM before it is adopted – perhaps suggesting other NCE rule changes that should be considered. However, with the FCC shutdown, opportunities to reach the appropriate people to implement such changes may be limited. Stay tuned to see when and whether this tentative proposal matures into a final NPRM.

This playlist is full of wonderful ARP music – some might surprise you

Delivered... Peter Kirn | Scene | Wed 9 Jan 2019 5:46 pm

As we remember Alan R. Pearlman and the impact his instruments had on music, here’s a survey of the many places ARP sounds appeared in music culture. It’s a reminder of just how profound electronic music tools can be in their influence – and of the unique age in which we live.

Perhaps now is the perfect time for an ARP revival. With modular synthesis reaching ever-wider audiences, the ARP creations – the 2500, 2600, and Odyssey featured here – represent something special. Listen across these tracks, and you’re struck by the unique colors of those ARP creations across a range of genres. It’s also significant that each of these designs in their own way struck a balance between modularity and accessibility, sound design and playability. That includes making instruments that had modular patching capability but also produced useful sounds at each patch point by default – that is, you don’t have to wire things up just to make something happen. That in turn also reduces cable spaghetti, because the patch connections you make represent the particular decisions you made deviating from the defaults. On the 2500, this involves a matrix (think Battleship games, kids), which is also a compelling design in the age of digital instruments and software.

And lest we get lost in sound design, it’s also worth noting how much these things get played. In the era of Eurorack, it’s easy to think music is just about tweaking … but sometimes it’s just as useful to have a simple, fresh sound and then just wail on it. (Hello, Herbie Hancock.)

It’s easy to forget just how fast musical sound has moved in a couple of generations. An instrument like the piano or violin evolved over centuries. Alan R. Pearlman literally worked on some of the first amplifiers to head into space – the Mercury and Gemini programs that first sent Americans into space and orbit, prior to Apollo’s journey to the moon. And then he joined the unique club of engineers who have remade music – a group that now includes a lot of you. (All of you, in fact, once you pick up these instruments.)

So I say go for it. Play a preset in a software emulation. Try KORG’s remake of the Odyssey. Turn a knob or re-patch something. Make your own sound design – and don’t worry about whether it’s ingenious or ground-breaking, but see what happens when you play it. (Many of my, uh, friends and colleagues are in the business of creating paid presets, but I have the luxury of making some for my own nefarious music production purposes that no one else has to use, so I’m with you!)

David Abravanel puts together this playlist for CDM:

Some notes on this music:

You know, we keep talking about Close Encounters, but the actual sound of the ARP 2500 is very limited. The clip I embedded Monday left out the ARP sound, as did the soundtrack release of John Williams’ score. The appearance is maybe more notable for the appearance of ARP co-founder David Friend at the instrument – about as much Hollywood screen time as any synth manufacturer has ever gotten. Oh, and … don’t we all want that console in our studio? But yes, following this bit, Williams takes over with some instrumental orchestration – gorgeous, but sans-ARP.

So maybe a better example of a major Hollywood composer is Jerry Goldsmith. The irony here is, I think you could probably get away with releasing this now. Freaky. Family Guy reused it (at the end). We’ll never defeat The Corporation; it’s true.

It’s also about time to acknowledge that Stevie Wonder combined Moog and ARP instruments, not just Moog. As our industry looks at greater accessibility, it’s also worth noting that Wonder was able to do so without sight.

What about U2? Well, that’s The Edge’s guitar routed through the ARP 2600 for filter distortion and spring reverb. That’s a trick you can steal, of course – especially easily now that Arturia has an emulation of the 2600.

Expect our collective reader knowledge exceeds anything we can contribute so – let us know what other artists using ARP inspired you, and if you have any notes on these selections.

The post This playlist is full of wonderful ARP music – some might surprise you appeared first on CDM Create Digital Music.

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