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


Supreme Court Strikes Down Law against Sports Betting – But Broadcasters Need to Proceed with Caution

Delivered... David Oxenford | Scene | Sun 20 May 2018 4:44 am

On Monday, the US Supreme Court issued an opinion striking down a Federal law (the Professional and Amateur Sports Protection Act or “PASPA”) which prohibited state legislatures from taking any action to legalize betting on sports. PASPA also contained a restriction on advertising sports betting. The state of New Jersey challenged that law, arguing that it improperly limited the authority of state legislatures to act. The Supreme Court agreed, and invalidated the entire Act, including the restriction on advertising sports betting. Some trade press articles have suggested that this signals a boom for broadcasters and other ad-supported media companies as companies rush to start advertising legal sports betting now that the prohibition is gone. While in the long run that may be true, and there may be immediate benefits to stations in certain states, there are numerous caveats for broadcasters to consider before they recognize an advertising boom from sports betting companies.

The entire decision was not based on any analysis of whether or not betting on sports is a good thing, but instead it was a decision based exclusively on a question of state’s rights. The Supreme Court determined that Congress cannot tell state legislatures what they can and cannot do. While Congress may have the authority to ban or otherwise regulate sports betting, if they wanted to regulate it, they should have done so directly. Instead, as the law prohibited state legislatures from taking action to legalize sports betting and other actions predicated on that limitation on states rights, the Supreme Court determined that this was an exercise of authority that Congress does not have – Congress can’t tell state legislatures what to do. Based on the Court’s analysis that all parts of the act were premised on this ban on state legislative actions, the entire law was struck down. That means that there is no blanket federal ban on sports betting, and it leaves each state to regulate as it may wish. For companies ready to take bets on sporting events, and media companies who want to take advertising from sports betting companies, in most cases they need to wait for the states to make decisions on how to proceed.

As the Court noted, at the time of the passage of the legislation, three states (including Nevada) already had laws allowing betting on sports. Apparently, in addition to New Jersey, several other states have already passed laws allowing sports betting if the Supreme Court permitted it. And bills are pending to legalize sports betting in many other states. But there are many states in which there is no clear law permitting sports betting. As DraftKings and FanDuel found out in recent years as they attempted to establish their fantasy sports business, in many states local authorities were ready to challenge their authority to do so under state laws banning sports betting. While some of these laws were amended to allow for fantasy games, many still prohibit straight-on sports betting. Thus, as long as there are prohibitions in state law against sports betting, media companies in those states need to be restrained in their advertising for this activity.

Even in states where the concept of sports betting has been adopted, the state may still need to adopt regulations to implement the law, and licenses may need to be issued to companies who want to take advantage of the change in the law. And, in the days since the Supreme Court’s ruling, there have even been suggestions that Congress could step in and adopt some sort of legislation limiting sports betting, or that it could legislate some royalty to the sports leagues in connection with permissible betting. In short, broadcasters need to consult local counsel to carefully analyze the laws in their states in making decisions on whether or not they can take ads for sports betting.

Once permitted, there will also be questions of whether stations can take ads for legalized betting in other states. There was a Supreme Court case, Edge Broadcasting, upholding a federal law that restricts stations in a state that has no state lottery from advertising the state lottery in an adjacent state. See our post here about an FCC decision fining a station for violating this law by running an ad for an adjacent state’s lottery.   But there is also a Supreme Court ruling in the Greater New Orleans case that has been considered to permit truthful advertising for legal casino gambling. How sports betting will be treated remains to be seen.  Note, too, that there may well be further litigation to decide these issues.

Also, broadcasters should consider restrictions that may exist in various program contracts that can restrict specific types of advertising. As we wrote here, many sports leagues have restrictions in their contracts as to the type of ads that can be run when their games are being shown. Sports betting is likely to be included among the categories of impermissible advertising in many such contracts. Broadcasters should also consider the age of the audience for programs in which any advertising is being run to make sure that that audience is appropriate for receiving messages about legalized betting on sports.

All in all, the decision this week was a good one for media companies. But whether it will mean, in the short term, a big new source of advertising revenue for stations across the country remains to be seen.

 

EXCLUSIVE: Tabla with a difference // Mayur Narvekar

Delivered... Blog | Scene | Tue 8 May 2018 7:21 am

Mayur Narvekar is a composer, producer, DJ, remix artist, label owner, teacher and a multi-instrumentalist at BANDISH PROJEKT.

From the echo of festivals across India, Mayur has resounded in International festivals like Caldestino Sweden, Lile France, Glastonbury UK, Incubate Netherlands, Fringe Scotland, Melbourne Electronic Festival Australia and being the BBC Asian Network only official touring artist from India in 2007. Mayur started dabbling in music from age 3 and was then trained in Indian classical tabla. Mayur dived head-on into the world of percussion, earning repute as a tabla player, He was the winner of all India Radio competetion in 2000 (Percussion) and was awared the promising percussionist in 2001 by Pandit Nikhil Gosh Academy. After Bandish Projekt and Bhejafry Records (Record label) the recent venture is Bandish Beat Faktory a learning module for electronic music production and education which has also been getting a global accpetance.

He has used these roots to bring his taste for strange sounds and electronic noises that brings a certain wildness and rarity in his style while his classical element keeps him grounded. Mayur‘s need for experimenting takes him to unchartered scales, His music is his journey and it is that journey he explores!

The post EXCLUSIVE: Tabla with a difference // Mayur Narvekar appeared first on Blog.

Jasmine // Jai Paul

Delivered... Blog | Scene | Tue 8 May 2018 7:21 am

A year after BTSTU was released on to our ears; London’s Jai Paul is back to satisfy our audio craving with a new track titled ‘Jasmine’. It really is an intelligent piece of music covered in beautiful lo-fi distortions and crackling joined by guitar riffs adding that subtle element of funk grooves all the while keeping it fairly chilled out …

The post Jasmine // Jai Paul appeared first on Blog.

FreQ Nasty – Bon Merde Remixes // High Chai Recs

Delivered... Blog | Scene | Tue 8 May 2018 7:20 am

The Fiji born, producer and breakbeat innovator, FreQ Nasty is joined by High Chai label mates. Remixing his infamous signature style of drumstep, glitch-hop, dubstep, and all things bass-heavy is Liquid Stranger and FS from the US, India’s leading DJ, B.R.E.E.D and Canada duo Knight Riderz each bringing their own elements on this heavy remix EP compiled by label head dimmSummer.

The post FreQ Nasty – Bon Merde Remixes // High Chai Recs appeared first on Blog.

Sound Trippin’ across India // MTV

Delivered... Blog | Scene | Tue 8 May 2018 7:20 am

Last year Babble Fish Productions brought us The DEWARISTS a fantastic journey and exploration of sound and culture. Bringing together independent Indian artists and providing the with a platform to collaborate with their unique surroundings to inspire them.

2012, there’s a new show on the screens, Intel MTV’s Sound Trippin’. A show hosted by Sneha Khanwalker, a contemporary music director, breaker of stereotypes and rising star in the music arena in India. She is boldly going into the lesser-known India, backpack and recorder in tow, in relentless pursuit of authentic sound. Why sound? Because nothing captures the essence of a location of a community better than its local sounds.

The post Sound Trippin’ across India // MTV appeared first on Blog.

Return of The Punk-A-Wallahs!

Delivered... Blog | Scene | Tue 8 May 2018 7:19 am

The 2012 sees the return of The Punk-a-Wallahs, but this time in a different disguise – a tag team consisting of DJ PATHAAN and ANDREW T. MACKAY of the glorious BOMBAY DUB ORCHESTRA. Expect some of the finest remixes and tunes from this pair. If you have ever heard their tracks as individuals you will know that these two will only deal with the most refined and ornate music from around the world. You will not be disappointed …

To start their sonic adventure, heres their first remix of Steadfast from No Stranger Here featuring Ursula Rucker, Shubha Mudgal and Business Class Refugees.

The post Return of The Punk-A-Wallahs! appeared first on Blog.

MC Yogi’s New Album Pilgrimage

Delivered... Blog | Scene | Tue 8 May 2018 7:19 am

MC YOGI, spiritualist, graffiti artist and Yoga instructor will be dropping his long awaited follow up to the début, ‘Elephant Power’, on 19th June 2012. ‘Pilgrimage’ influences are all over the musical map: world beat, hip-hop, reggae, dance hall, house, and dub. Chaotic street sounds of India blast through the mixes, alongside madhouse beats, old-school turntable scratches and popping horns over which Yogi effortlessly drops his rhymes.

The post MC Yogi’s New Album Pilgrimage appeared first on Blog.

EXCLUSIVE Jelly // The Talvin Singh Archives

Delivered... Blog | Scene | Tue 8 May 2018 7:18 am

A wonderful track from the Talvin Singh Archives – Jelly, produced back in 2007, its a track that features all the glorious trademarks of Talvin Singh but will a bit of wobble to it.

Expect harmoniums, electronics, ambient scapes and tablas all woven with bass and hint of dubstep!

The post EXCLUSIVE Jelly // The Talvin Singh Archives appeared first on Blog.

Evolving sounds from the grand sires of Eastern Drum and Breaks

Delivered... Blog | Scene | Tue 8 May 2018 7:17 am

For over a decade now these gents have been evolving their sounds by channelling the contrast of electronic and Indian Classical music. They are the grand sires of Eastern Drum and Breaks, inspiring and influence an entire cohort of DJs and producers to create music of a similar nature.

Some familiar names come together on the Swedish label ‘Meerkat Recordings’ on the ‘7th Day’ EP. The Nasha Experience’s Nuphlo, Osmani Soundz is joined by Mumbai’s Apurva and drum ‘n’ bass crew Delta Star [Nuphlo and Ges-E] who make their debut with the title track. The EP has gone down immensely well with the listeners of both BBC Radio 1 and Asian Network proving its massive appeal.

Delta Star launches the EP with the self titled. A hard hitting drum & bass track, trickling with a dark melody fastened together by subtle eerie vocals. Osmani Soundz and Nuphlo pick up right where the Delta Star left off with what could very well be the most popular tune on the EP. ‘Sand Dunes‘, starts of as this elegant Middle Eastern inspired affair that quickly turns into a potent bass attack floor filler that is destined for greatness.

Carrying on the Middle Eastern vibe, Nuphlo treats us to a solo tune, ‘Kasbah‘ with an inscrutable beginning which in no time mutated into a grimier dubstep tune, executed dexterously. This is then juxtaposed with the penultimate track which is a summer anthem for sure. ‘Tea Rooms‘ by Delta Star is that ideal track you want to be listening to on hot day. A euphoric and lightly coated drum & bass track with a lot of textures, sounds like something Netsky would pull out of the bag! Definitely a favourite! Nuphlo and Apruva close the ’7th Day’ EP with ‘Conflict Resolution’, fuelled by merciless basslines that provide refuge for ethereal vocals and choppy rhythms that soften the track up.

This EP is evidence these pioneers have not wavered in their game since the beginning.

I caught up with Nuphlo for a quick Q&A

NB: So, what is the reason for working with Ges-e, Osmani Soundz and Apurva in this context on Meerkat?

Nuphlo: I think the reason for working with Ges-e and Osmani is simply because we make so many tunes together that dont get released, some of them needed to see the light of day I felt. Meerkat gave us that opportunity. Working with Apurva was purely through us meeting, raving and talking together in Mumbai. He’s on the level when it comes to good dnb. Hes very passionate about what sort of sound he wants to make, plus I only really make tunes with people I like.

The post Evolving sounds from the grand sires of Eastern Drum and Breaks appeared first on Blog.

It’s Political Broadcasting Season Again – What Broadcast Stations Should Be Thinking About Now, Before the Lowest Unit Rate Windows Open

Delivered... David Oxenford | Scene | Thu 8 Mar 2018 6:09 pm

This week’s political primaries in Texas are but the first of many more election contests that will occur between now and November. Already, we are receiving client calls about the political rules, how they should be applied, and what stations should be considering in anticipation of the upcoming elections. I’ve discussed the general FCC issues to be considered by broadcasters in many different ways. In January, I conducted a webinar for two state broadcast associations on these issues, following a similar webinar that I conducted with the head of the FCC’s office of political programming back in November for about 20 additional state associations. The slides from the most recent webinar are available here. Our firm also has available a Guide to Political Broadcasting, here, that provides information about many topics that come up in this area every year. But, with the election still months away, and in many states primaries that don’t occur until the summer, are there issues that broadcasters should be considering today?

Yes – there are many such issues that broadcasters should be considering immediately. As we wrote here prior to the last Presidential election, it is important to start planning early for an election. As that article details, and as set out in our Political Broadcasting guide, there is much planning for lowest unit rates that needs to take place now – before the actual windows (45 days before the primary and 60 days before the general election) in which those rates apply. Stations are likely selling advertising schedules that will run during the windows later this year, and they are putting together advertising packages that will be offered to commercial advertisers during the window. Consideration needs to be given now as to how that advertising will be treated to avoid unwanted lowest unit rate implications during the window.

As that article and another that we wrote here make clear, there are many other issues that stations need to be considering outside the windows, as once a candidate is legally qualified, virtually all of the other political rules apply. A candidate becomes legally qualified once they have filed the necessary paperwork to qualify for a place on the ballot (and, in some cases, to write-in candidates as well – see our article here). Once they are legally qualified, the reasonable access, equal opportunities, sponsorship and disclosure rules, including all public file rules, apply.

So, for candidates for Federal offices, reasonable access requirements apply as soon as a candidate is legally qualified. That means that the candidate is entitled to have access for advertising in all classes and dayparts on all commercial stations. While there may be a bit more flexibility in providing that access early in a campaign than there is closer to Election Day as there are more opportunities to provide that access, nevertheless stations need to pay attention to candidate requests. See our article here for more information about reasonable access.

Equal opportunities also apply as soon as a candidate is legally qualified. So if you sell advertising time to one candidate in a political race (local, state or Federal as equal opportunities apply to all candidates for public office – see our article here), you have to provide equal access to all opposing candidates. Free time must also be provided to one candidate if given to another outside of an exempt program (exempt programs including bona fide news and news interview programs – see our article about these consideration, written before the last Presidential election here).

Other equal time issues arise in connection with employees of the station who decide to become candidates – even for local office. See our article here.   Equal opportunities issues can also arise in connection with a local advertiser who appears in his or her own commercials, and decides to become a candidate for political office. See our article here for some issues to consider if this situation arises in your market.

In addition to these matters, political file issues arise well before the opening of the political window. For candidates, once they have become legally qualified, any “use” by that candidate needs to be noted in the public file (a “use” being an appearance on the station of the candidate’s recognizable voice or likeness outside of an exempt program). Issue advertising – both state and Federal – also has political file disclosure obligations that arise outside of political windows (with Federal issues advertising having much greater disclosure obligations almost identical to those of candidates). With all new political documents now needing to be uploaded to the online public files of both radio and TV stations, these political files are subject to much more public (and FCC) scrutiny.

These are but some of the issues broadcasters should be thinking about in what is likely to be a very active political year. You should be talking with your station’s attorney and sales staff now to make sure that everyone is ready to take care of the potential tidal wave of political advertising that may be arriving in the coming months, without running afoul of FCC rules.

Update: FCC Still Conducting Nationwide EAS Test Tomorrow, September 27

Delivered... David Oxenford | Scene | Tue 26 Sep 2017 3:05 pm

With no hurricane or other emergency seemingly threatening the United States tomorrow, the FEMA and the FCC announced yesterday that the Nationwide EAS test is being conducted as planned tomorrow, September 27. We wrote about that test here and here. Stations, except those in hurricane-affected areas who have been given more time to file reports on the results of the EAS test at their stations (see the FCC public notice here allowing stations in these areas to file when the ETRS Form 3 is due in November), need to file their ETRS Form 2 reports on the results of the test at their stations by the end of the day, Eastern Time, tomorrow. See the FCC Public Notice about the reporting requirements for the test here.

Fantasy Mansion is an EP that’s also a generative, 8-bit circuit with sync

Delivered... Peter Kirn | Artists,Scene | Mon 19 Jun 2017 4:29 pm

The golden age of the recorded album may be long past, but the golden age of the album-as-instrument may be just getting started.

Captain Credible is the latest artist to embrace the idea of releasing his music as circuit board and interactive musical instrument and not just a set of tracks you can hear (erm, stream). So, yes, Fantasy Mansion is a set of tracks if you want it to be. But it’s also an 8-bit instrument.

This isn’t the Norwegian artist’s first go at something like this. But Fantasy Mansion is notable not just because of its adorable vintage video game haunted house looks, but also for some surprisingly sophisticated features – including sync.

This also wins the prize (to my knowledge) of coolest thing to put a download code on.

fantasy-mansionback

There’s an eight-track (linear) EP, plus the circuit board, with 32 step sequencer and three-part 8-bit sounds.

The instruction copy is hilarious. The board promises to “harvest compositions from adjacent parallel universes using a Perlington demon gate.” In, uh, more pedestrian terms, what you get is a lead melody, bassline, and drum part you can edit. There are parameters for decay and octave, and effects for glitch, repitch, and shuffle, plus a “Theremin” continuous pitch mode. And you get lots of shift functions, organized cleverly around “matter” and “antimatter” modes. (Sometimes that means something as simple as adding or removing steps in the sequencer, sometimes something much weirder.)

The modification features are dubbed “A.I.,” though that’s a bit of a stretch. (Well, one feature is the ability to “fuck up” patterns. I’m for that.)

You can sync send/receive as desired with other gear, making this a nice complement to stuff like the KORG volca series or Teenage Engineering Pocket Operators.

Here’s the instruction manual (click for full size):

operation-manual

Video teaser:

And longer explanation:

Captain Credible isn’t just a one-trick pony making an 8-bit circuit board and calling it a day. No, he can also be found playing “home made blinking pyramids, motion sensing helmets, candles, lasers and magic crystals.” Yeah. He’s one of us.

Behold:
livea

There is so, so, so much going on at Captain Credible. There are crazy destructive VST plug-ins. There are live performances. There are workshops and weird inventions, and a section called “Art” where installations are controlled by interactive helmets and powered by candles. If you’re in Norway or nearby, book this guy. If not, move to Norway, find some remote farmland, and start a festival so he can headline.

http://captaincredible.com

I’m listening to the music now. It’s surprisingly dreamy (relative to the hyperactive nerdgasm above), shoegaze-to-video game theme-to quirky jams. It’s gorgeous, eccentric, and ingeniously inconsistent, the output of somewhat with a broken attention span and overflowing imagination – in a way to be genuinely thankful for. Maybe it’s not attention span: maybe different dimensions are actually converging, some of them flat video game worlds, some of them introspective Scandinavian emotional odysseys. So enjoy!

The post Fantasy Mansion is an EP that’s also a generative, 8-bit circuit with sync appeared first on CDM Create Digital Music.

What does it mean that NI bought a startup that monetizes remixes

Delivered... Peter Kirn | Scene | Tue 28 Mar 2017 2:38 pm

Native Instruments announced an acquisition that suggests a new area of intended growth for the company. They’ve acquired MetaPop, a firm that clears and monetizes remixes – and with the company, they also get the former CEO of Beatport. To work out what that might mean, you need to first understand MetaPop.

It’s safe to say remix culture isn’t what some predicted it would be. Instead of ushering in a bold new age where music is re-imagined by fans and artists find new opportunities to share ideas and earn money to support their art, we get — uh, takedown notices. And a lot of non-starters.

Into that somewhat desolate landscape, enter MetaPop. The startup was born at the start of 2015 in Los Angeles, founded by former Beatport CEO Matthew Adell. (Adell sold Beatport to SFX, though … that turns out to be an unpleasant story. It appears meanwhile MetaPop has only undisclosed seed money behind it – though that could be actually a good sign, in that acquisition could help it grow.)

Basically, the idea of MetaPop is to actively support fans making remixes, and squeeze revenue out of unlicensed remixes that are floating around online. When you just play music – as in a DJ mix or an online streaming service – you are required to pay a compulsory license, or a fixed license fee that is supposed to pay money back to the artist. That’s another discussion, but suffice to say even the US Commerce Department thinks that that license structure doesn’t make sense for remixes. (I will refrain from using the word “mash-up,” as I think it’s dead, like “information superhighway.”)

So MetaPop does two things. First, it actively courts remixes. There’s a marketplace of pre-cleared stems, where you can go and download stems for free and make your own remixes. There are promoted contests, too, like a recent one with Carl Craig. They’ll even host a remix contest for you for free.

Second, MetaPop supports labels and artists by searching for unlicensed remixes and monetizing them.

You can read Adell’s thoughts on this as CEO, as he speaks to Bas Grasmayer:
Monetizing remix culture: Beatport’s former CEO about his new mission

Carl Craig stems, anyone?

Carl Craig stems, anyone?

Now, it’s pretty easy to follow why Native Instruments might be interested in such a company. We’ve already seen that part of the company’s vision for the future of DJing is live remixing content with STEMS. MetaPop is literally a source of stems, if you want to look narrowly at what that might mean. But apart from remixable content on MetaPop being potential STEMS fodder for Traktor users, more broadly it seems to align with Native Instruments management’s idea about where DJing and electronic music are going.

I wouldn’t look at this as “what NI plans to do with STEMS, though.” It seems to me that NI are primarily acquiring Matthew Adell – and they’re not being secretive about that.

Keep in mind that NI had a financial stake in Beatport, and worked on strategic partnerships. Now, they’re bringing Adell into Native Instruments, naming him Chief Digital Officer. In today’s press release, NI CEO Daniel Haver says point blank, “we’re very excited to take our online offering to the next level.”

He’ll stay on in NI’s LA office. That office is now up to 50 people.

Let me break from script here, though, and say, quite frankly, I have some real questions and reservations about this direction.

The principle potential here for electronic music as service and remixing as medium is all on the DJ side. And Native Instruments has got to get their DJ offerings in better shape to remain competitive.

TRAKTOR is complicated, and subject to instability depending on the computer hardware it runs on. Then, some of its differentiation points are starting to look more like vulnerabilities. Sure, you can use elaborate NI controller hardware – but you’ve got to compete with a competitor who can tell you to just “carry a USB stick.” Then there’s the concept of doing live remixing with STEMS. I still like STEMS as an idea – I’ve released my own content on the format, other artists’ content, and I’ve used it and found it to be musically useful. But Native Instruments rolled out STEMS as a “standard” and has since utterly failed to bring on any major developers or vendor partners, or even to integrate it in their own production products (like Maschine). To me, it’s a great idea – but one that’s had next to no follow through, internally or externally. I say all of this as a TRAKTOR user.

That’s assuming this will have some connection to the existing TRAKTOR DJ product silo, but it’s hard to think remixing and online services won’t have some connection. (Again, DJs are the ones really driving consumption – worth saying.)

And let’s get real. This market has gone back to selling, buying, and playing vinyl records. That’s how devoted it is to reliability, tradition, and physical hardware.

I don’t doubt for a second that there are real opportunities in online offerings, too. Indeed, Adell identified some of those problems with MetaPop. Just getting music out and getting it in the hands of DJs (and remixers, if you like) is already a huge challenge to producers. That impacts NI products outside of just DJing, too – if you can’t get music heard, then you’re less likely to want to buy production tools. Solving these problems could well be valuable.

But this is the challenge Native Instruments faces. Whatever they do with digital offerings, I think they’re going to live and die based on hardware, because hardware is what we’re investing in. (Ask that competitive Japanese company that makes giant MP3 players that cost about as much as a used car.)

Sure, that may be an odd thing to say to the company that made its fortune by going to software. But look at it the other way round: NI has grown at each stage of life based on correctly recognizing trends. That includes the value of software development, then the potential of digital DJing and digital vinyl, then the combination of controller hardware with software.

They may well have it right by identifying online offerings as part of the next trend. But I think the thing to watch is whether that can work in tandem with a more robust offering for DJs, up against increasingly dominant competition.

Of course, that’s what keeps working in this business fun – it’s neither easy nor simple, and it connects directly to people’s most passionate feelings about music at a time when how music is made and heard is changing. So, as always, we’ll be watching.

MetaPop

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Bitwig Studio 2 lets you modulate and control like a bandit

Delivered... Peter Kirn | Scene | Thu 12 Jan 2017 7:04 pm

Bitwig gets its first blockbuster upgrade since launch, in beta now. And the first look at this software suggests it’s continuing to deliver what an enthusiast audience wants – even if some of the revolutionary promise of the tool remains over the horizon.

So, first, what it isn’t: it isn’t a complete modular environment. Underneath all the goodies Bitwig offers is a set of modules that provide its functionality. Bitwig’s developers have said eventually they’ll open that up to users, not just for their own development. And that’s be exciting indeed.

But forget about big ambitions for a moment. The step that we get here looks really useful.

In fact, it might be friendlier to everyday users than the grand-modular-everything scheme.

modulator_zoo_6c

What’s cool about Bitwig is its consistency. I think Ableton has actually suffered as its included devices have fragmented. There are third-party tools that never get updated. There are truly native tools like Simpler – and those are great. Then there are features relegated to second-class citizens as Max for Live devices, which sometimes cause them to behave differently or load more slowly. There are different sets of tools for monitoring signal or looking at frequencies, and they aren’t available everywhere. Lots of functions aren’t modular. MIDI assignment is clunky. I could go on. Adding Max for Live seems to have become an excuse for not fundamentally improving any of this – at least through what’s now several years of updates. And, apologies, Ableton, but I think in this case you deserve the comparison.

Bitwig’s first versions laid a foundation for something more consistent and integrated. But we had to wait for them to deliver a product that built from that competition past the competition.

And modulators really look like they could be it. Every internal device, and every plug-in, now has an unlimited number of modulator slots.

So add an LFO if you want. Add some math or randomization. There are envelopes and step sequencers and keytrackers and nifty X/Y controllers. Plug those in, change whatever you want. Do it anywhere.

These are also all polyphonic. That combined with the cool control provided by devices like ROLI’s I think could open up a new approach to sound design.

I won’t mince words: you can stop reading here, because I think modulators are a reason to give Bitwig a go.

bitwig2

This semi-modular capability is much of the time probably more appealing for quickly coming up with ideas than a full-modular environment would be. On the other hand, if this works, it can and should increase appetite for more modular tools – if I could just change that step sequencer a little…

But I really think this illustrates the limitations of Max for Live, or running other environments as plug-ins. Being able to modulate in devices while you arrange, inside a DAW, natively, is a whole other experience. I can’t wait to try it, and I’ll be writing once I get some time with the beta.

Check them out here.

https://www.bitwig.com/en/bitwig-studio/bitwig-studio-2/modulators.html

Hardware integration is the other functionality I think is really important, and really in tune with how many people want to work now. Again, it’s nice to see Bitwig add these features natively.

For MIDI, you get devices for both hardware and plug-ins:
Control Change (CC)
Program Change

And hardware devices:
Clock Out
MIDI timecode (MTC)

Plus, there are Control Voltage devices, for gate, continuous control, and simple direct signals:
CV Instrument
CV Out

You also get a bunch of MIDI/pattern devices – nothing so radical to users of other DAWs, like Cubase, but I think doubly welcome in the context of the other hardware features and rich modulation:

Multi-note (think chords)
Note harmonizer
Note length
Note echo
Note latch
Note velocity

Add those together with modulation, and many of you probably don’t need a full modular tool.

Remote Controls for any device take the best feature of Live’s Racks – macro mapping – and appear to make it more coherent. Whereas those are device-specific and require setting up a rack, Bitwig’s feature can be saved with presets, too, and are available everywhere. They also go well with the hardware integration features above.

The other reason I’m going to give this a second go is, frankly, fades/crossfades – which look elegant and nicely work not only in the arrangement view but in clips and audio editor, too.

6c-fades-crossfades

Like any maturing DAW, the rest of this is a sort of grab bag of lots of improvements to workflow – the various refinements that occur in parallel to multiple elements of the tool.

So you get a spectrum analyzer, and spectral tools through the internal toolset. There’s an expanded Polysynth, with expanded timbral tools like oscillator mix and filter waveshaping modes – and it combines with those new modulators. There’s VST3 support – a rarity outside Cubase.

If that didn’t excite you, zoom in on this shot of the Polysynth. The new visual language, the friendliness of the UI, the richness of modulation – this looks like promising stuff for synth lovers.

polysynth

They’ve also significantly streamlined editing workflows and how tools, menus, and windows are integrated.

I expect some people will be disappointed that the revolution hasn’t arrived. And it means there’s a battle for Bitwig. The DAW market is crowded. Just being good – sometimes even being better – has never been enough.

But I think we may finally get a chance to really take advantage of the modular engine beneath Bitwig. And since a lot of us have tracks we want to make, the availability of modulators and the nice suite of arrangement and control tools here mean something you can use right now, today.

We’ll have more to say once we do our review. Happy modulating.

https://www.bitwig.com/en/bitwig-studio/bitwig-studio-2.html

The post Bitwig Studio 2 lets you modulate and control like a bandit appeared first on CDM Create Digital Music.

Free jazz – how to use Ableton Link sync with Pure Data patches

Delivered... Peter Kirn | Scene | Thu 17 Nov 2016 5:38 pm

Effortless wireless sync everywhere has arrived with free software, too, thanks to Ableton’s new open source SDK. And it’s incredibly easy – enough so that anyone with even rudimentary patching skills will probably want to try this out.

Pure Data, the free and open source cousin of Max/MSP, looks ugly but does great stuff. And it’s worth checking out even if you use Max, because Pd is lightweight and runs on any platform – including Linux, Raspberry Pi, iOS, Android, and inside other software (like game engines). Now that it supports Link, you can make patches that run anywhere and then jam together with them.

Let’s walk you through it step by step and get you jamming.

1. Grab the latest copy of Pure Data.

Leave that dusty ancient aversion of Pd aside. Because the “vanilla” version of Pure Data is now up to date and lets you instantly install any external or library, it’s the only one you likely need. (Pd extended is no longer supported.)

You’ll find it direct from Pd (and Max) creator Miller Puckette:

http://msp.ucsd.edu/software.html

2. Install the new Ableton Link external.

Here’s why you don’t need Pd extended any more – Deken is the awesome automatic external installer. (Think of it as a package manager for Pd.)

You’ll find the installer at Help > Find externals…

Type in abl_link~ in the search box.

Click the top choice (the one that isn’t grayed). A dialog box asks if you want to install to the Pd folder inside your library. Choose yes.

Now, you can use the abl_link~ external in any Pd patch. (It installed to a path Pd searches for the active user.)

screenshot_639

3. Get some help

Create a new Object. Type abl_link~ into the Object box. If you don’t make any typos, you’ll see the Object box get a solid rectangular outline and inlet and outlets. Right-click (ctrl-click) on the Object and choose Help to bring up the external’s help file.

Read and look around. You’ll already see tempo and beat information and the like – that’s what Pd is generating internally and sending to any other Link-enabled apps on your network.

Now, this help file will be most interesting if something else on the wifi network supporting Link – like Ableton Live, or an iPad app, or Reason – is running. So go ahead and do that. Tick the Connect box, and now if you change tempo in one of those other apps, you’ll see the tempo and beat information change here, too.

Notice that you’ve got all the same information you have in, say, Ableton Live. You can see how many other apps are connected via Link. You can see the current tempo in bpm. You can see beats. And you get more precise data you can use in your own patches.

screenshot_642

4. Use that tempo information

Now you’ll need something to do with this info. The “step” information out that first outlet is the easiest to use. So for instance, you could feed that into a step sequencer — connect the bang output so you send a bang every quarter note (in 4/4), for instance, or connect to a counter. That gives you beats, but for more precision you could do some maths on the “phase” information.

Here’s an incredibly stupid proof of concept, which creates a 4-step step sequencer synced to Link’s beats.

screenshot_641

You can paste this into a text editor, save as “peterhasastupidexample.pd” or something like that, and open it in Pd.

#N canvas 0 22 486 396 10;
#X obj 63 22 abl_link~;
#X obj 63 81 sel 0 1 2 3;
#X obj 61 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 4500 1;
#X obj 84 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 6800 1;
#X obj 108 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 9200 1;
#X obj 131 115 vsl 15 128 0 127 0 0 empty empty empty 0 -9 0 10 -262144
-1 -1 6400 1;
#X obj 77 51 nbx 5 14 -1e+37 1e+37 0 0 empty empty empty 0 -8 0 10
-262144 -1 -1 2 256;
#X obj 69 298 osc~;
#X obj 68 271 mtof;
#X obj 69 318 *~ 0.5;
#X obj 59 348 dac~;
#X connect 0 0 1 0;
#X connect 0 0 6 0;
#X connect 1 0 2 0;
#X connect 1 1 3 0;
#X connect 1 2 4 0;
#X connect 1 3 5 0;
#X connect 2 0 8 0;
#X connect 3 0 8 0;
#X connect 4 0 8 0;
#X connect 5 0 8 0;
#X connect 7 0 9 0;
#X connect 8 0 7 0;
#X connect 9 0 10 0;
#X connect 9 0 10 1;

But obviously the idea will be to start thinking about sequencing and time in your patches. Wherever that’s relevant, jamming just got more interesting.

Plus, because Pd patches run on other devices, you could make a little jam chorus of phones or tablets or whatever.

Note that this is all under a GPL license. If you want to use this in a commercial app, you can – but you’ll have to request a license from Ableton. (I’m doing some more research into the full implications of that.)

5. Thank Peter Brinkmann.

Peter is the principle author of libpd and the creator of this external. (I was lucky enough to get to contribute to the libpd effort with him and … hope to continue contributing, somehow.)

You’ll find the code inside the libpd repository:

https://github.com/libpd/abl_link

6. Reward yourself with a free reverb.

You read this whole article! You worked hard. Sit back, relax, and install a reverb external.

Type “freeverb” into that box, and you’ll find a lovely reverb you can use in your patches.

7. Let us know how you’re using this.

We’d love to know.

Now get jamming. You just need a nice, cozy set.

We got nothing to play. – I’ll tell you what we’re gonna do.

What? – Jazz Odyssey.

The post Free jazz – how to use Ableton Link sync with Pure Data patches appeared first on CDM Create Digital Music.

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