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Indian E-music – The right mix of Indian Vibes… » 2010 » September » 21

Deadmau5 & Beatport present the ultimate remix challenge

Delivered... Posted by Beatportal | Scene | Tue 21 Sep 2010 9:08 pm
Calling all DJs and producers! Beatport is raising the stakes with our next remix contest. Deadmau5 is looking for the ultimate jack of all trades to remix his unreleased hit "SOFI Needs A Ladder." His favorite remix will not only be included on mau5trap's official "SOFI Needs A Ladder" release, but the winning remixer will also be booked for an opening slot for the mau5 himself at one of his sought-out live appearances.

Read more on Beatportal

Natacha Atlas – Mounqaliba out today

Delivered... globalnoize | Scene | Tue 21 Sep 2010 8:24 pm

Free Download – Natacha Atlas – ‘Makaan’

Purchase from Six Degrees StoreAmazoniTunes

We are very excited that Natacha Atlas’ brand new album Mounqaliba is coming out today! We are also pleased to announce we are hosting a belly dancing video contest for fans of Natacha, more info here.

Ralph Lawson on the dwindling mix CD market

Delivered... RA - The Feed | Scene | Tue 21 Sep 2010 8:00 pm
The 2020Vision boss tells Jonty Skruff that "mix CDs are lucky to sell 2,000 (units) now" compared to, for example, his fabric 33 mix from 2007 which apparently sold 12,000 copies.

Summit Touts Open Source Hardware, Q+A with Co-Creators; Music Hardware?

Delivered... Peter Kirn | Scene | Tue 21 Sep 2010 7:23 pm

Summit co-chairs Ayah Bdeir (left) and Alicia Gibb (right) are hoping to galvanize a community around open source hardware, from NASA to Arduino. And that could have an impact on music and audio – if creators of gear for musicians get onboard, that is.

Open source software has proven itself in technological, economic, and cultural terms – it’s simply a matter of reality. This site runs atop free software nginx, WordPress, MySQL, and (Red Hat Enterprise) Linux; in music, we have Csound, SuperCollider, Pd, Ardour, JACK, Processing, and so on. Csound has even appeared on karaoke machines. These tools run alongside and interoperate with commercial, closed-source solutions. They’re a part of our technological ecosystem, both in general-purpose computing and in music and visuals.

But what about hardware? Facing scarcity and fabrication, hardware combines all of the challenges of software with new problems. And unlike software, open source hardware lacks clear licenses and definitions.

There’s clearly a role open source hardware could play in music. There are already components, like USB chipsets, that are available in open source form that can benefit music projects. And while true open source hardware has been rare or available only in limited runs, there have been hardware projects with open source components. Most notably, the fully open source software that powers the monome has been instrumental in facilitating the passionate community around that device. Here’s what the monome project proclaims on its official site:

we believe that open source is commercially viable and mutually beneficial for our collective and the consumer. in opening our software we eliminate wasteful, redundant coding for ourselves by incorporating proven libraries and frameworks. we in turn provide these same benefits to others who wish to incorporate our development efforts into their projects. we believe distributed development leads to more stable software and more creative application design. we believe open applications provide more flexibility for users to adapt tools to their specific needs, encourage creative use of software and hardware, and produce a greater diversity output from users.

But even given the monome manifesto above, music gear embracing open source hardware has been relatively scarce – even more so if you apply the definition adopted by many advocates.

This Thursday in New York, on the eve of Maker Faire, the Open Hardware Summit promises to break new ground. It features a packed schedule of thinkers from NASA to Texas Instruments to the Arduino project, and the introduction of a first working definition of open source hardware.

I spoke to project co-chairs Alicia Gibb and Ayah Bdeir about the origins and goals of the event, and some of the unique challenges of doing open source hardware.

At the same time, I couldn’t help but notice the absence of music and audio figures on the program. That to me suggests that this discussion is not less relevant, but more so – if there is a disconnect between musical creators working with these ideas and the rest of the community, it’s worth exploring why that is, given that musical expression is such a fundamental part of our culture. More on that at the end, as we don’t yet have a good catalog of active, available projects for open source music.

A sound project made of small, interconnected, open source components called LittleBits – the brainchild of Ayah Bdeir, co-chair of the upcoming Open Hardware Summit. Photo courtesy LittleBits.

CDM: Can you tell us how this project, and the Summit, came about?

Alicia: About 7 months ago, in January Peter [Semmelhack, of BUG Labs] said to me, “Hey, I’ve been getting a lot of people from hardware companies calling me and asking for advice. We have learned a lot of lessons in producing hardware and others shouldn’t have to make those same mistakes. Is there a way we could get all kinds of people who work with open source hardware together and all share information, a conference or summit – like an Open Hardware Summit or something.” And I replied to him – “Peter, this is going to be epic, consider it done.” I began working and thinking of key players to involve on this Open Hardware Summit.

Separately, in March, Ayah brought many excellent minds together at the Opening Hardware Workshop sponsored by Eyebeam and CC, it was such an impressive collection, to begin forming a definition of what open source hardware entails. (In the first video on the Eyebeam project site, Ayah explains a bit about how that event was brought together.) The definition that you have come across is the definition that was spurred from that workshop. It was there that I began talking to a couple people about the conference and Chris Anderson [Wired] said “Have you thought about doing it around … Maker Faire?”

Sherry Huss, Dale Dougherty and Becky Stern [all of Make] all sat down to chat with me and loved the idea of having it the day before Maker Faire, they invited me along to scope out the space and treated me as family. They got NYSCI on board as our venue sponsor for the New York Hall of Science. They were absolutely instrumental in getting the Summit off the ground. Ayah mentioned that with her new fellowship at Creative Commons, one of the things they wanted to do was a conference around Open Hardware. Becky told her she should come talk to me – and really, the rest is history :)

I do have to say it is such an honor to plan this with Ayah, I read her work as a grad student and as Peter texted me after our first meeting with all the key players in the Summit, “I think the fact that the first Open Hardware Summit is being chaired by women is a terrific signal”. I feel very fortunate to have a job that allows me to make my dreams happen, and CEO who truly has his heart in the right place when it comes to open source. Peter’s ability to be a successful business man while not forgetting the importance of sharing, giving back, and maintaining transparency in open source projects has been inspirational to me.

Ayah and I are the co-chairs of the Summit. However as we plan more and more we hope to bring on other volunteers for help. The other key players that we consider catalysts to this event are: Bug Labs, Creative Commons, littleBits, MAKE, Maker Faire, NYSCI, and Eyebeam.

littleBits intro from ayah bdeir on Vimeo.

Ayah, can you talk a little about your background in this, particularly since Opening Hardware was a project you created at Eyebeam?

Ayah: From my end, i have been working on Open hardware for my own project littleBits (www.littleBits.cc) with advisor John Wilbanks of Creative Commons for a while. Our talks were so interesting that we decided to host a small workshop in March where we would invited interested hardware makers and have a discussion between the open hardware community and creative commons to better understand the issues and licensing options. In the workshop we saw that a license would not be the way to go but rather a community-approved set of norms or definition might work best.

Who is actively involved in that community effort?

Ayah: The Opening Hardware workshop was organized by me, with eyebeam, ted ullrich and celine assaf, and sponsored by CC. we then set up a mailing list and hosted discussions on the definition, where a bunch of us were actively involved in the drafting (dave mellis prodding people to hash out the version 0.1 draft and Windell did most of the writing for the current (0.3) draft (adopting from the DFSG and the OSI OSS definition)). Although lots of people contributed both comments and text including: Arduino, Adafruit, Buglabs, MakerBot, Chumby as well as Jonathan Kuniholm (Open Prosthetics), Chris Anderson (Wired), Mako Hill (OLPC, Wikipedia), Jon Philips (Qi), Shigeru Kobayashi (Gainer), Becky Stern (Make) and Thinh Nguyen and John Wilbanks (CC) and us (littleBits, Eyebeam), Parallax, Sparkfun, Lilypad.

What drove this effort; what made it come about?

It seemed like so many of us that were interested in porting the open source movement to hardware were struggling with adapting it, and its restrictions and specificities. We believe it is such a worthwile movement to fuel creativity in the world that we really wanted to share it with others.

Open Source Hardware Workshop @ EYEBEAM

Participants in the Open Source Hardware Workshop at Eyebeam. Photo (CC-BY-NC) Ted Ullrich.

The most common question I hear asked is by creators, who are concerned that people will simply set up cheap manufacture to clone products, undercutting costs and reducing their ability to invest in support and further development. Is there anything in this definition that would protect against this?

Ayah: From David Mellis, Arduino:

I think the best strategy is to provide good products at a reasonable price, offer good customer service, and establish a brand that people trust. We do mention in the introduction that you can’t imply your products are supported or or sanctioned by another manufacture or use someone else’s trademarks – both intended to help protect a company’s brand and reputation.

Ed.: Okay, there’s quite a lot more to discuss here, I know – so consider this the beginning of this conversation, not the end. I think what David suggests is one compelling answer, but I hope we do have a larger discussion of the issues here, as this a significantly multi-dimensional question. -PK

What’s essential to this definition in your view and what’s up for discussion? For instance, some (though not all) makers believe that some sort of non-commercial
restriction is needed to prevent cloning, but that’s explicitly forbidden in this draft. Is it possible that a future definition might include other tiers, like Creative Commons’ non-commercial license for creative works? Or is that anathema to the definition of open source hardware?

Ayah: We’re trying to define open-source hardware (not create a license). We mostly think non-commercial clauses are antithesis to open source. However, some want a really idealistic application for open source to hardware, but others, (like me) think it’s ok if different companies and individuals have different flavors so that the movement can gain the most traction and people can find their own ways to be sustainable.

More Unboxing the Bug from Bug Labs-20081206-4

BUG Labs’ modular hardware is an early entry in the open source hardware field, a platform on which new hardware and software gadgets can be created – including music and sound tools. Photo (CC-BY) Roland Tanglao.

What will the role of the hardware summit be?

Ayah: The summit will be a venue to share and discuss issues, problems and solutions in open hardware. This is also an opportunity for us to bring Creative Commons into the discussion with the community.

There will be a very deliberate attempt to remain practical and not too academic/theoretical, and we want to get work done in terms of the movement. We are also hoping to get more comments before the summit and be able to release version 1.0 of the definition to the world!

Where does Creative Commons fit in?

Ayah: CC committed, albeit in an early stage to support the open hardware movement, which can be seen by their awarding me of a fellowship to support the field and focus on open hardware. Even if it will not be throught creating licenses for us, they are interested in being involved in the discussion, and have been very generous supporters.

Are there any usable license models now that someone could look at? Definitions aside, is there a sense of best-practices for someone who has a hardware design now and wants to take the plunge?

Ayah: Again, from David Mellis:

I would recommend people share whatever they feel comfortable with. Open-source hardware doesn’t make sense for all companies or all products, and everyone should decide what makes sense for their own situation. On the other hand, we believe in the value of open-source as applied to hardware in the ways stated in the definition, and so we would encourage its use where possible.

If people want to get involved in the discussion, what’s he best way to do that?


What are some of the highlights of what you have scheduled for Thursday? What can people expect to hear?

Everything is a highlight for Thursday! The response and interest to the summit has been so incredible that we really tried to pack the best in. The panels are particularly going to be interesting, with such great participants from various fields, we expect to get lots of great questions and answers.
TOne of our most important goals for the Summit is to keep the event very action-driven and solution-driven. This means talking about best practices, advice on how to better make open hardware, and staying away from the theoretical jargon and bikeshedding. We expect there to be a lot of young makers and companies starting out in open hardware, so the more specific/real-world experiences and advice we can give them the better! Another particular highlight we are selfishly hoping for is to hash out the Open Hardware definition and take it from version 0.3 to version 1.0!

Since we’re talking to a music/sound (and on motion, visual) audience, anything likely to be specifically relevant to them?

The sprint talks will be specifically interesting to them. The speakers are showing their projects, in space research, art, design and education. We think it will be particularly interesting eye candy for your audience, as well as have a lot of value in terms of relating to the speakers and the problems/opportunities they face with their work.

(CDM) Call for Open Source Music Hardware

My read of the situation is that this is the beginning (or even a prelude) rather than the end of the story. So that means, since there really isn’t much, if any, representation of audio and music platforms at the summit (unless you count Arduino, or a possible cameo by a x0xb0x), maybe it’s time to do a tally of those platforms.

What projects do you consider “open source hardware” for music? Are there any you’ve seen recently, or use actively?

What would you want in an open source hardware platform?

And do you have a project you’ve considered for an open source license yourself?

I’ve actually seen a few projects recently that I’m excited about, either available now or coming soon, so I’ll be covering those, but at the risk of proposing a list that’s incomplete, I’ll leave them out for now and listen to what you think.

The Summit…


EastWest Hollywood Strings Gold Edition

Delivered... Electronic Musician | Scene | Tue 21 Sep 2010 5:50 pm
Designed for film, television and videogame scoring, Hollywood Strings was recorded in EastWest's Studio 1 by Doug Rogers, Nick Phoenix and Thomas Bergersen, and engineered by Hollywood veteran Shawn Murphy.

EastWest Hollywood Strings Gold Edition

Delivered... Electronic Musician | Scene | Tue 21 Sep 2010 5:50 pm
Designed for film, television and videogame scoring, Hollywood Strings was recorded in EastWest's Studio 1 by Doug Rogers, Nick Phoenix and Thomas Bergersen, and engineered by Hollywood veteran Shawn Murphy.

Vox Amplification Valvetronix VT+ Series

Delivered... Electronic Musician | Scene | Tue 21 Sep 2010 5:46 pm
Enhancements in this series include more amp models, more effects, more presets and more power. Unique to the Valvetronix VT+ Series is a new Power Level control. Lowering the Power Level provides full gain tone at modest listening volumes. Turning the Power Level control up into the shaded area of the knob will summon up reserve power (up to an extra 40W).  

Max for Live Solutions: Full Control Surface Support, Mac Trackpad as Controller

Delivered... Peter Kirn | Scene | Tue 21 Sep 2010 5:39 pm

There’s not much to say about this news: if it’s the kind of thing you’ve been anxiously awaiting, you’ll know you’re in luck just from the screenshots.

First, for anyone with a recent MacBook and a copy of Max for Live, Juan Pablo Carrascal has come up with a lovely solution for on-the-go production. Using the trackpad’s multitouch input support, his Max patch transforms your laptop into a MIDI control device, for those times when you don’t have a controller handy. (See also a great, open source Mac touchpad tool.) I don’t have a compatible Mac on which to test this, but it looks great. And because it is a Max for Live patch, you could use this as a basis for other, similar tools.

Juan Pablo writes a detailed look at how he put the patch together and how to use it:

Macbook trackpad as controller for Ableton Live (with Max for Live)

You just need an external mouse, since this will take over the use of your trackpad. It could also be handy for adding an extra touch controller in a live performance (especially in cramped performance spaces).

Second, for Max for Live developers, Peter aka ShelLuser on the Live forums has come up with a patch entitled LOM.Navigator that gives you full access to every single function provided by Live’s internal control surface support. It’d be nice if Ableton had designed that control surface object in a more logical, consistent way, or properly documented it. (ahem) But Live hacker to the rescue: LOM.Navigator lets you explore all the capabilities Max for Live can control, opening up lots of possibilities for live performance. Full message thread:

LOM.Navigator v1.0 – With *full* control surface support. [Ableton forum; thanks, Mudo!]

News : Scissor Sisters To Support Lady Gaga Tour

Delivered... info@filtermmm.com | Scene | Tue 21 Sep 2010 5:39 pm
Scissor Sisters To Support Lady Gaga Tour

Apparently the Scissor Sisters have hit it big time.

Next February, Scissor Sisters will be opening for Lady Gaga on some of her Monster Ball World Tour. The New York glam poppers will join Miss Gaga at New York's Madison Square Garden and will then move westward.

Check out the dates below!

Scissor Sisters latest effort, Night Work, is out now.

Tour Dates:

21 – New York, NY @ Madison Square Garden
22 – New York, NY @ Madison Square Garden
24 – Washington, DC @ Verizon Center
26 – Pittsburgh, PA @ Consol Energy Center
28 – Chicago, IL @ United Center

03 – Toronto, ON @ Air Canada Centre
08 – Boston, MA @ TD Garden
10 – Columbus, OH @ Schottenstein Center
14 – Dallas, TX @ American Airlines Center
15 – San Antonio, TX @ AT&T Center
19 – Salt Lake City, UT @ Energy Solutions Arena

Behind the scenes with Caspa and Mr. Hudson

Delivered... Posted by Beatportal | Scene | Tue 21 Sep 2010 5:05 pm
Go behind the scenes with Caspa and Mr. Hudson—"on the fixed gears, living the hipster dream in East London"—in this nine-minute making-of documentary to their "Love Never Dies" video. Pick up the tune on Sub Soldiers here. "Georgie Racer," from the same EP, has just been compiled alongside similarly massive jams on GetDarker Presents: This Is Dubstep 3, featuring an incredible 42 cuts from Benga, Skream, Joker, Nero, and many more, for less than you'd pay for a couple of pints in any hipster 'hood.

Watch this video on Beatportal

Issey Miyake and Evian collaboration

Delivered... electronic beats NEWS as RSS-Feed | Scene | Tue 21 Sep 2010 4:22 pm

Bottled water giant Evian has teamed up with king of Japanese minimalism Issey Miyake for an exclusive collaboration. Issey Miyake has exclusively designed a bottle for the water giant, taking on from where previous collaborations with Paul Smith and JeanPaul Gaultier left off.

Check out the promo video for more info:

Interview with Sunday Best’s Eamon Harkin

Delivered... RA - The Feed | Scene | Tue 21 Sep 2010 4:07 pm
Here's an interview and guest mix from Mister Saturday Night/Sunday Best promoter Eamon Harkin who talks to Clubbers Guide New York about his thoughts on the NYC dance scene and his love for Optimo.

As Gaming Faces Supreme Court Case, Music Industry Defends Free Speech

Delivered... Peter Kirn | Scene | Tue 21 Sep 2010 3:57 pm

Playing Super Mario Bros (Gameboy Color Game) on iPod photo

Music or games – free speech is free speech, say legal, advocacy, and industry groups. Photo (CC-BY-SA) FHKE.

A California ban of the sale of violent video games to minors may not seem relevant to the world of music on first blush. But the music industry, joining everyone from software makers to legal groups to state Attorneys General, feels otherwise. Overzealous restriction of the sale of games, these groups say, is tantamount to an attack on rights of free speech protected by the United States Constitution. And while the California law would make a separate set of rules for gaming, the message from the music industry, as others, is clear: diminish the freedom of one medium, and you diminish us all.

In addition to the National Association of Broadcasters, The Recording Industry Association of America (RIAA) joins an amicus brief with booksellers, publishers, novelists and writers, music retailers, “amusement and music operators,” and the Recording Academy, jointly filing their protests with the US Supreme Court.

Amongst the authorities cited in that brief: reviews of the game Halo, histories of banned books and laws concerning free speech, violence in Elizabethan England, and Homer and Aeschylus. (Yes, Homer’s Iliad Book 13 sits alongside Grand Theft Auto.) Even Punch & Judy, Tom and Jerry, and Little Red Riding Hood make an appearance. So does the Bible.

Of course, the music industry is sensitive to these attacks, having been at the business end of similar, ill-fated litigation. Books, magazines, newspapers, television, broadcasting, music – there simply isn’t a medium in America that hasn’t had to fight off similar complaints.

There are various arguments for whether or not gaming is reviewed as art, though here, there’s enough legal precedent to assume they are, in the eyes of the law. More telling, however, is the observation that “protection accorded to depictions of violence did not turn on … merit.” (The case cited in the brief protected gory, grisly images and descriptions of crime, which New York law tried to ban in the 1940s. At the time, the Supreme Court conceded it couldn’t understand why you’d want such a thing, but that merit was not the basis for the ruling.)

And that’s the bottom line: free speech is not about merit, or one medium or another, just as this Supreme Court decision is as much about music or words as it is about games.

The precedent, legally, is clear, leaving only the “newness” of the technology as a defense. Here’s the brief’s response to that issue:

California also appears to suggest that the new technologies represented by video games require a reassessment of First Amendment principles. Technological change usually causes fear and uncertainty.

In the twentieth and twenty-first centuries, technological change has repeatedly revolutionized entertainment media and communications, as well as the storage, retrieval, and distribution of information. Each of these technological advances—movies, television, the Internet, and now handheld, interactive electronic video games—has brought with it the fear that the new technology would corrupt the young. But there is no reason to permit fear of novel technologies to diminish fundamental constitutional rights such as the First Amendment.

For any artist, for anyone in the business of expression, this is a case to watch, at least in regards to US law.

More reading:
Merit Briefs/Amicus Briefs, Schwarzenegger, Gov. of California v. Entertainment Merchants, Assn., Docket No. 08-1448 [American Bar Association]

At stake in Terminator vs. video games? “The future of media”
[Ars Technica]

The brief cited here:
Brief for the American Booksellers Foundation For Free Expression, Association of American Publishers, Freedom to Read Foundation, the National Association of Recording Merchandisers, Recording Industry Association of America, Amusement & Music Operators Association, the Association of National Advertisers, Pen Center USA, and the Recording Academy in Support of Respondent [PDF]

Margaret Dygas does how she does

Delivered... electronic beats NEWS as RSS-Feed | Scene | Tue 21 Sep 2010 12:43 pm

Margaret Dygas will soon be releasing her debut full-length album on Japanese imprint PowerShovelAudio. The album How Do You Do was inspired by the book Peoplewatching, a guide to body language, by British zoologist Desmond Morris. The book was a leaving present from her best friend in England and served as a companion during her first years in Berlin up to the present.

The album is arguably quite a surprising concoction of music from the Berlin techno dj, as it is quite an ethereal, instrumental and emotive piece of music, which would be more at home sat next to Mount Kimbie or James Blake than many of Dygas’ Panorama Bar/Berghain peers. The concept of the album is as the press release states; “each track is based on different emotions, each relating to a chapter or idea from the book, that come together as one story. Each title is accompanied by a quote that illuminates the relationship between the music and book”. Additionally, the CD comes with an exclusive 36 page booklet of Margaret’s own photographs, which were taken over the same period as the album was recorded capturing key moments and memories.

Margaret DygasHow Do You Do is released on PowerShovelAudio on October 25th.

Tiga’s packing heat

Delivered... RA - The Feed | Scene | Tue 21 Sep 2010 12:11 pm
The Canadian producer applies his typical comic touch to Beatportal's Weekend Weapons feature by showing some man love to Boy 8-Bit, Nicolas Jaar and Mosca.
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