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Indian E-music – The right mix of Indian Vibes… » 2012 » October » 04


Dueling Grids: A Duet for monome and MPC [Live Set of the Day]

Delivered... Peter Kirn | Artists,Scene | Thu 4 Oct 2012 8:32 pm

Ocelot – Beyonica (Live) from Tim Shaw on Vimeo.

Let’s again step back from the world of the industry to the realm of individual musicians and how they make tools make sounds. Tim Shaw’s music is a beautiful illustration of the ways in which brain and musical imagination can be connected to fingers and sound.

In his new project Ocelot, Tim pairs with Jeramy Bradfield and makes a sweet, square-based duet. Tim’s grid of squares comes from the monome and Ableton Live; Jeramy turns to the Akai MPC and effects pedals. (I assume the guitar we see gets used elsewhere in their performance.) They have a free download available, as well, in a nice coinciding release – it’s lovely to have the live performance go with the download and not only a sterile studio creation.

What this also demonstrates is that this stuff need not be the exclusive domain of the solo musician. By making music kinetic again – and not just loop-triggering – you can play with others.

Free download, for a limited time: https://soundcloud.com/o-c-e-l-o-t

That said, I also quite enjoy this solo video from Tim from last month. It makes use of two patches – mlrV and Soyuz – available for free from the monome.org community. And that in turn reminds us that the user community has been just as industrious as the folks who get paid, when it comes to producing creative ways of playing digital music live.

Floored – Tim Shaw (Performed using Monome) from Tim Shaw on Vimeo.

And, for something entirely different, here’s a sound installation in a cupboard – something no home should be without.

Cupboard Music – A Sound Installation by Tim Shaw from Tim Shaw on Vimeo.

More:
triptikmusic.co.uk

Hi, Doctor Nick!

Delivered... RA - The Feed | Scene | Thu 4 Oct 2012 8:07 pm
Nick Hook continues his column for XLR8R by giving advice on party guilt and getting started in the production game.

Beatport News does five days of Decibel Festival 2012

Delivered... Ken Taylor | Scene | Thu 4 Oct 2012 8:00 pm
Having attended most major electronic music festivals in North America that have been around longer than five or six years, I was eager to get to my first Decibel, now in its ninth year, located in the wonderful city of Seattle, Washington. Founder Sean Horton has ambitiously built it over the years, and it now sits as one of the can’t-miss events on the world circuit. The size of this festival is hard to get your head around—and this has been a common gripe amongst attendees, having to choose to miss certain artists due to schedule overlapping. There are simply so many artists: 50-plus showcases, three days of conferences, and four after-parties within the official programming, on top of the off-Decibel events, which consist of four boat parties and even more after-hours affairs. That said, there were minimal hiccups to be encountered, which was impressive. Seattle, being the music town it is, served up quality venue after quality venue. The sound was impressive across most spaces, and though some of the visuals left something to be desired, for the most part the production was tight. See our full review after the jump.

Exclusives : GMG 41: Breakestra’s Guide to Los Angeles

Delivered... info@filtermmm.com | Scene | Thu 4 Oct 2012 7:00 pm
GMG 41: Breakestra’s Guide to Los Angeles

With 3,792,621 people (give or take) living within Los Angeles’ official limits, it’s fair to say that it is a city with something for anyone and everyone. But let’s get a few things straight: LA does have “weather” (officially ranging from “pretty chilly” to “the gates of Hell”), not everyone is in the movie business (everyone is just trying to get into the movie business) and, yes, earthquakes are a constant occurrence (you simply don’t feel most of them). Now that we’ve cleared all that up, let’s turn this over to a real Angeleno to help us discover the best that the real Los Angeles has to offer.

Growing up in LA, Miles “Music Man” Tackett—the mastermind behind the funk/hip-hop fusion ensemble Breakestra—has had ample time to explore and experience the myriad tiny pockets of his sprawling hometown. His conclusion? It’s virtually impossible to pick favorites in a town with so much to offer. Here, Tackett guides us through the creams-of-the-crop of his Los Angeles, including the best places to flip through dusty old vinyl, see a movie and dance a Monday away like there’s no work tomorrow. So after Breakestra kills it at FILTER’s Culture Collide festival this October, you can follow Tackett and company to one of two—make that three—no-longer-secret spots to grab post-gig fish tacos.

Continue reading at FILTERmagazine.com

News : TUNE IN: Check Out The Official Culture Collide 2012 Slacker Station

Delivered... info@filtermmm.com | Scene | Thu 4 Oct 2012 6:25 pm
TUNE IN: Check Out The Official Culture Collide 2012 Slacker Station

Need to get pumped today before coming out to Culture Collide? Well our good friends at Slacker have an official Culture Collide 2012 Station for that exact purpose!

Click below and relax as you hear tracks from this year's artists like of Montreal, Niki and the Dove, John Talabot and more!

Continue reading at FILTERmagazine.com

A Mixer, A Soundcard, a Controller: NI Traktor Kontrol Z2, Examined [Gallery, Details]

Delivered... Peter Kirn | Scene | Thu 4 Oct 2012 6:05 pm

It’s not a monster combining everything in a giant, coffin-sized case. Instead, the Z2 focuses in on 2-channel mixing and controls, and integrates with Traktor. (MIDI and audio operation is possible with other tools, though – and we have the details on that.)

Native Instruments is continuing their hardware attack with a new device that combines three tools: controller, mixer, audio interface. Those knobs and faders control software, as an integrated controller for Traktor, but internally, the Kontrol Z2 is also a mixer and computer soundcard. It’s geared primarily for Traktor users, of course, but with pricing under a grand and support for MIDI and audio with any software, it’ll be interesting to see if this sort of all-in-one design appeals to users of other DJ and performance tools.

The Z2 is unique in that it’s a 2+2 mixer. It’s not the first combined mixer/soundcard/controller, but the 2+2 configuration, and resulting price and size, may be a bit easier for a range of users to accomodate.

You can also compare NI’s offerings with Serato’s own, also announced this week. Serato/Pioneer give you four channels instead of two, and more deck controls – but that means larger, pricier hardware. And unlike Serato DJ, Traktor Pro will still work even if you don’t connect special, compatible hardware. So, while NI invests in integrated hardware, they don’t force you to use it.

By being both a mixer and a controller, says NI, the Z2 hardware allows you to mix analog and digital DJ techniques. They describe it as a “hub.” Other sound cards and mixers would do the same, to be sure, but here you get one that’s fully integrated with Traktor. And that means it could be time to clear the dust off some old decks or CDJs, with Traktor and the integrated controller handling the fancier computer DJ capabilities.

The features of the Z2:

  • Aircraft-grade aluminum – which, by the way, is what we just saw in the DIY Apollo 13 controller yesterday
  • Traktor Pro software bundled (and integrated with the controller features).
  • Innofader-brand faders, “high-quality” knobs.
  • Multi-colored LED buttons, assigned to Remix Decks and cue points. (For those of you who hate the color disco-fication of NI’s hardware, sorry, there’s more.)
  • Two standalone mixer channels for external analog inputs – think Pioneer CDJs or turntables.
  • Two channels from the soundcard for independent control of the Traktor Remix Decks, cue points, and effects (and, for audio signal, anything you want to route from your computer).
  • Dedicated Remix Deck section, and Master section for Traktor file browsing, Sync and Quantize.
  • Macro FX, so that you can combine multiple effects on one control. (Also known as “Skrillexing.” Joke. Yes, you can also do classic breakdowns.)
  • 24-bit internal soundcard with – at last – XLR balanced outputs.
  • Separate booth output, separate mic input. (This is a DJ mixer, after all.)
  • Additional aux input, atop the turntable connections. (iPad, perhaps?)
  • HID controller implementation.
  • USB hub – now, this is interesting (and means the “hub” moniker is literal). There are USB ports on the controller so you don’t have to use up your laptop’s precious ports or lug a separate hub. NI of course hopes you’ll plug in more of their hardware (F1, X1), but that could include other gear, too (FaderFox? Launchpad? Ohm64?).

Here’s where the Z2 fits in, in NI’s view. Add your own USB hardware (NI shown here, but a hub and the software each support anything you like). And dust off a CDJ – or new CDJ2000 – for hybrid DJing. Images courtesy Native Instruments.

The channel layout is set up with dedicated three-band EQ, filter, and fader section, plus rotary volume knobs. I’ll defend the two-channel, rather than four-channel / four-deck configuration: it’s still what most DJs use, and even fairly advanced DJ setups can get by with two decks and two associated channels (or even four decks and two channels, if you must). It seems a logical compromise.

Unfortunately, what is missing that I would have liked to see is easy insert points for external hardware effects. You can run those out of the main output, but then, inserts can be a good reason to use a mixer in the first place. This is probably out of the realm of the Z2′s target audience, however, so take that criticism with a grain of salt.

Also, it’s worth saying that the audio interface “channels” on the Z2 aren’t actually independent channels. Outputs from your computer are fed in stereo only. When you’re controlling channel operations on the audio interface side of things, you’re actually manipulating the software only.

The audio business here: connect analog gear (including aux) and get dedicated cue/booth and main outs. In fact, you can use those same dedicated outs with other software, like Ableton Live.

MIDI and Audio Operation with Other Software

Clearly, the target market here is Traktor users. But a lot of Traktor users will do a “DJ” gig with Traktor on Saturday, then a “live” gig with Ableton Sunday.

NI confirms to CDM that both MIDI and audio operation will be possible even when you’re not running Traktor.

As with other NI controllers (such as Mashcine), the Z2 has a MIDI Mode; switch into that, and the controls send MIDI rather than Traktor-specific HID control signals. Generally speaking, this will mean controlling one or the other, not both at the same time, though with some elaborate mapping you could conceivably build a way to do both at once. (DJ Hack Day, anyone?)

For audio, the Z2 operates as a four-output USB audio interface. The first two outputs are fed to the main outs; 3+4 go to the headphone cue or booth output. That means, just as you can cue with Traktor, you can set cue outputs in Ableton Live and use those. In fact, if you’re on the Mac, you can even route audio from both Traktor and Ableton Live to the Z2 outputs at the same time. (On Windows, this is trickier, so let’s not go there. If you know how to do it, we’ll leave you to it.)

Just remember, you’ll have to do your mixing in software, not with the Z2 – the Z2 just takes a stereo main output and cue output from your computer.

For now, MIDI is your option, but eventually, HID support – a USB control standard – could be an option, too. This is largely of interest to hackers at the moment, but it’d be nice to see Ableton with native HID controller support, too. HID is arguably more flexible and can offer higher resolution than MIDI can. (For the record, tools like Max for Live do allow you to hook into HID.)

Color-coding is in over at NI. Here are the cue point controls, designed for integration with Traktor. (They will work with other software, though, once you place the Z2 into MIDI Mode.)

What about other controllers?

So, Serato is not terribly-compelling competition when it comes to opening up MIDI control. They’ve finally added third-party MIDI mapping support in Serato DJ, but still require you to use compatible hardware – which, for now, means just one piece of Pioneer kit shipping on November, and existing ITCH gear early next year. That’s not a criticism, necessarily – it’s just a different strategy.

Why are users, then, complaining to NI that they’re not beefing up third-party MIDI mapping, if NI is comparatively more open? I think, put simply, the bar for NI is higher. Much of this is perception: while it’s a comparatively minor point that you can’t assign an arbitrary number of Remix Decks to your own controllers, it’s something users expect. That perception is amplified when users feel that NI instead is trying to sell them special, branded hardware.

Native Instruments promises updated mapping support that will improve mapping in general, including adding greater access to the Remix Decks. And my message to NI is simple: we’ll be glad to see it. And be glad your users are this passionate: they’re people willing to do the hacking and mapping work themselves, rather than wait for NI to do it for them. So please, to NI and the rest of the industry, keep working on the tools that allow those kinds of passionate users to shine.

(In fact, ironically enough, this video continues the “celebrity user” trend by showcasing DJ TechTools founder Ean Golden. Golden’s site has been, above all others, a consistent watchdog in complaining to NI about custom control. DJ TT even manufactures their own hardware that would benefit from tighter Remix Deck integration.)

Background on this story:
Traktor 2.5 Remix Decks + Custom Controllers: What You Need to Know, Why HID Matters

That artist video; more feedback?

Here you go: Ean Golden of DJTT takes the helm.

And product info:
www.native-instruments.com/z2-dj-mixer

Availability: November 1 (just like the Pioneer/Serato rival)
Pricing: US$899 / 799 € incl VAT / 83800 ¥

I’m curious: what sorts of DJ rigs would you want to see tested with the Z2, or other, competing hardware? There is a new generation of DJs exploring more live performance elements and getting away from just playing records – even though “just playing records” can sometimes make a satisfying night on the dancefloor. What would your criteria be for evaluating this and other gear? What would you want to know or see tested? Let us know, and we can try to make it happen.

Paul Woolford’s Special Request delivers a solid remix of Daniel Avery’s "Taste"

Delivered... Christine Kakaire | Scene | Thu 4 Oct 2012 6:00 pm
Daniel Avery's "Taste," for Erol Alkan's Phantasy Sound imprint, is sonically rooted in classic electro, Kraftwerk robotics, and rowdier electro-clash, but it's one of those special tracks that unifies a range of DJs in universal praise— Boys Noize, Jennifer Cardini, and Lee Foss have all charted it on Beatport in recent weeks. It may seem unlikely to improve on the original, but the masterful Paul Woolford—under his new alias, Special Request—has lent his magic to it, transforming the original's mosquito melody into a galloping bass anthem.

Scratch That, ITCH: Serato DJ the Future of Serato, First Integrated Hardware from Pioneer [Gallery]

Delivered... Peter Kirn | Scene | Thu 4 Oct 2012 5:27 pm

New Pioneer hardware may look like other offerings – but there are some twists on controller mappings, and velocity-sensitive pads. You also get an impressive integrated 4-channel mixer. The bad news: without this gear, you aren’t running Serato DJ until at least spring of 2013.

The story around digital DJing increasingly seems to be controllers built around specific software. As Native Instruments pushes their Kontrol line for Traktor Pro, Serato has rebooted both their software and their hardware approach. Serato DJ is the new generation of Serato software, with some much-requested features making their way to the tool. But whereas Native’s software (and other DJ options) work with any hardware, you’ll need specific hardware to use Serato. Initially with Serato DJ, that means the new Pioneer DDJ-SX; even users of existing ITCH hardware will need to wait until 2013 for support in the form of a free upgrade.

In the meantime, Serato is delivering on some new functionality, and with Pioneer, some clever hardware features – and it’s a good time to talk about video.

The New Software: Serato DJ

Serato DJ has a brand-new look, visually and functionally new, and it … uh … okay, actually, we don’t know what it looks like, as Serato says the user interface isn’t quite ready for us to see. We do know what functionality will be in the software, though, and it looks like Serato users are getting some of the functionality that might have made them jealous in rival tools like Traktor (once you have the hardware to support it, that is).

  • New, refreshed UI
  • Two- and four-deck view modes for up to four deck controllers
  • Updated cue point and looping controls display “8 cues, 8 loops or a combination of both”
  • New effects, powered by iZotope: Delay, Echo, Ping Pong Delay, Reverb, Phaser, Flanger, Distortion, HPF, LPF and a Combo HPF/LPF. (None of the more exotic effects in Traktor, but iZotope’s stuff sounds great.
  • MIDI mapping: The good news: you can now map a second MIDI controller to Serato’s features. The bad news: you still have to connect one of their approved controllers as the primary controller, making these a really big dongle for the DJ software.
  • In-software recording.
  • BPM-based automatic loop points, plus manual looping.
  • Up to four-deck mixing on supported controllers.
  • Smart Sync with Beatgrids. (No comment there – I think it’s time to get some local DJs together for a proper beat-grid comparison with Traktor and the like.)
  • Library support for Scratch Live, ITCH, DJ Intro (for users with the beginner-level software), and your library in iTunes.

Talk to Serato’s users, and “features” isn’t what you’ll here. With Serato DJ, the marketing emphasis remains on plug-and-play, “it just works” operation. Of course, whether Serato DJ delivers on Serato’s promise of plug-and-play support is something we have to test when it ships.

Hardware flexibility remains a stumbling block, however. As Native Instruments users complain about even subtle details like whether Remix Decks are fully-supported over MIDI, Serato will actually refuse to run without connecting supported hardware. It’s nice to see MIDI mapping for your own gear – that’ll allow you to supplement your Serato hardware with your own controller of choice – but you still have to use big, clunky approved hardware.

And with Serato DJ, things get worse before they get better. There’s slick, new Pioneer hardware – see below – but ITCH users are in a period of transition. ITCH software, says Serato, will continue to get bugfixes, but otherwise, ITCH is replaced by Serato DJ. And people who invested in ITCH hardware won’t get Serato DJ support until early next year.

That’s the bad news, anyway – unless you’re in the market for this new Pioneer shiny. On the good news side, the upgrade will be free. So, you’ll have to wait – but you won’t have to pay.

It seems like Serato and Pioneer wanted to get this hardware in by the Christmas buying season.

Eeesh. But at least it’ll be free – and Serato promises bugfixes in the meantime. So, if you’re happy with ITCH and Serato now, feel free to ignore this article.

To me, some of the innovation on the Serato side that you can get right away has come in the form of integrated video support, enabling complete audiovisual sets. (In fact, I’d love to see more when I go out – I don’t know what to say to clubs, other than… buy projectors?) There’s not one, but two solutions here. One isn’t even from Serato: MixEmergency is a superb third-party plug-in. The other is Serato’s own video product, which was recently updated.

I covered Serato’s latest on Create Digital Motion:
Serato Video 1.1 Adds Media and Effect Handling, Delay Compensation Features [Videos]

I’m behind in covering MixEmergency, but here it is (mmm, Quartz Composer and visual plug-ins!):
http://www.inklen.com/mixemergency/

The First Hardware: Pioneer DDJ-SX

Serato has said a bit about the Pioneer hardware that was designed around Serato DJ. And while you’ll have to wait until spring, some of this functionality will come to existing ITCH hardware, if you already own it. New in the Pioneer kit:

  • Peformance Pad Section: 8 pads control Cue Points, Loop Rolls, Slicer and the SP-6. Now, on the surface, this looks like what we’ve seen on NI hardware and Novation’s Twitch. But here’s something new: these pads are velocity-sensitive, more like drum pads.
  • In Velocity Mode, you can now trigger velocity-sensitive SP-6 Sample Player slots – a nice touch.
  • Dual Deck Mode links software deck layers together.
  • Touch-sensitive, illuminated platters, jog wheel display.
  • Four-channel standalone hardware mixing, with four channels of connected CDJs, turntables. This lines up with the new NI 2+2 mixer — but, of course, with four channels.
  • Slip mode: resets position after you’re done so that after triggering cue points, the track stays in time. (Again, we’ve seen NI go in a similar direction.
  • Hardware effects controls.
  • On-the-fly slicing, triggered by the pads.
  • Dedicated per-channel high-pass/low-pass filters.
  • Channel Fader Start.
  • Bundled Serato DJ, and with the first 10,000 units, Serato Video.

It’s subtle, but there are some unique twists Serato is bringing to the table. Slicing up samples on the fly and being able to trigger them from velocity-sensitive pads is nice, having a 4-channel mixer integrated is very nice, and some of the control mappings are clever. I’d say it’s a horse race – but Serato is a tease here, as we wait on final software release.

Since we can’t look at the software, let’s ogle the hardware.

Pioneer product images courtesy Serato.

DJ TechTools has their own analysis of the new hardware, and gets the scoop on pricing – US$1,199. (No European pricing yet.) With Serato Video initially included and both software and four-channel mixer controller hardware, that seems competitive, at least.
Pioneer DDJ-SX Controller for Serato DJ Announced

Official site:
http://serato.com/dj

REVIEW: Death Grips NO LOVE DEEP WEB

Delivered... Spacelab - Independent Music and Media | Scene | Thu 4 Oct 2012 5:00 pm
I don't know if Death Grips are just out for attention and/or making a ruckus, but I'll be eager to hear what their next record sounds like.

iPad, iPhone Creation is Working: How AudioBus, More Will Connect Your Music Workflow [In-Depth]

Delivered... Peter Kirn | Scene | Thu 4 Oct 2012 4:21 pm

The big idea: mix sound sources and inputs, add effects, and record — all in different apps on one iOS gadget, or even with multiple iPhones/iPads.

“I am an app, I am an island…”

On iPhone and iPad, there is now no shortage of apps that make interesting sounds. But producing music is for most people organizing sounds, and so, that same abundance of apps can become a weakness. You’ve got one thing that makes great noises, another thing that records noises, and another thing that turns an input into noises.

What if you want to quickly record that sound, or use that cool effect to shape the sound of another app? On the desktop, you might load all those instruments and effects into a host. On the iPad, you’ve had a few options – copy and paste sound after it’s fully rendered, perhaps, or export to SoundCloud – but none really works intuitively the way you’d like.

That is, until now. AudioBus will route audio freely between apps – allowing you to make sounds, add effects, and record them in any combination – and even between multiple devices, so a group of friends could jam or your iPhone could record your iPad, no audio cabling required. All of this is possible via an interface that any supported app will make available at a moment’s notice.

It’s not available yet, but it’s already approved by Apple and working on devices. And that means we can look in some detail at how your music workflow will change on iOS in the very near future.

The What and Why

Consistent configuration screens should make the tool both more usable and more flexible – across apps. All screenshots courtesy the AudioBus developers.

Earlier this week, I sat down to lunch with developers from Audanika and nLog, along with Palm Sounds’ Ashley Elsdon. Appropriately enough, we were at a place called Fleischerei, as AudioBus co-creator, Audanika’s Sebastian Dittmann, put some meat on this story – and on the iPad’s usefulness for music making.

Imagine an ever-present interface that allows you to route sound, live, to other apps. Heck, you’d be happy to have that on desktop (JACK comes close, though its interface is not as intuitively integrated). On the iPad and iPhone, a few finger touches are all you need to get apps sending sound live to one another. Add the Moog Filtatron to your favorite synth, for instance, and then record into a beat arrangement tool like Beatmaker.

Crucially, this isn’t just about making the plumbing work. The engineering is already impressive; various tricks have enabled glitch-free audio that “just works.” (There’s a blog post on how that works.) And there’s the requisite Apple approval; that arrived last month. But the other reason AudioBus looks appealing is that plenty of work has done so that non-experts can work out how to make routing work, and that an unobtrusive interface is available in all your apps. Because the SDK is standard, audio works one way in all apps; you don’t have to learn how to make it work each time.

It’s not that you have to do these things to make the iPad musically interesting. It’s that it finally helps you make sense of your collection of apps. They make each other more powerful, rather than just crowding space on the app screen and competing with one another. And while for many of us, finishing tracks will remain a job for the computer, even as a sketchpad this means that the iPad or iPhone is something you can use – in bed, on a couch, on a bus, on a plane, on a hydrofoil or a hovercraft – to make complete ideas.

Then, there’s what happens when you put several iOS gadgets together; routing between devices should also be possible.

Best of all, you won’t need iOS 6 or a brand-new device to make this work. First-generation iPads and even some iPod touches will get in on the fun, too. (I saw a fourth-gen iPod touch working.) Multi-app functionality on those devices is less desirable, but by connecting older gadgets with newer ones, AudioBus should help extend the lifecycle of Apple’s sometimes-throwaway gizmos.

Developers will add AudioBus by using a freely-licensed API. (I’d like to see that eventually become open source, because I think it’d ease participation – and wouldn’t have to mean incompatible forks – but it should at least be compatible with free software projects on iOS and won’t cost money.)

Users will get AudioBus by snagging a US$10 app, then making use of apps with support. With hundreds of developers already signed up and more likely, this seems to have the makings of a new standard. Here’s an example (in sound, anyway) of the results:

If iOS represents a clean slate, in some cases, it’s replicated familiar problems. (That’s my major complaint with Android, which had the chance to reboot the complex audio landscape of Linux and desktop operating systems – and somehow managed to come up with something that was actually worse.) Here, we get to see something that actually looks better.

Which Apps Will Work

Add a DAW, and AudioBus gets very interesting. Image: Auria.

With hundreds of developers already using a pre-release of the SDK, you can bet this list will grow. But AudioBus’ creators have pointed out forthcoming support in a number of favorites:

A Tasty Pixel is co-developer of AudioBus, so of course their Loopy HD live-looping app works.

So, too, does Audanika’s SoundPrism Pro – a controller, but it also makes its own sounds.

The 48-track, advanced DAW Auria is essential; the developers are working on support.

So, too, is Harmonic Dog’s Multitrack DAW, for an alternative.

Intua’s Beatmaker 2 is another essential tool, since you could then turn other apps into samples.

The beautiful NLog modeled synths all work; Tempo Rubato‘s developer was on-hand at our lunch meeting. (Read up on the details.)

Others:

Moog’s wildly-popular Animoog synth and Filtatron effect processor are both confirmed.

Synthetic Bits’ wonderful Funkbox, the drum machine [I'm also a fan of their Little Midi Machine, but that's not relevant here as it ... doesn't make sound]

Percussion app Drumjam is confirmed

By the way, we can now confirm that there is no multi-app audio routing built into iOS 6. There was a slide that mentioned this at WWDC, but no other mention from Apple. So, this looks like a third-party capability, which makes sense: it’s a lot more involved than simply supporting hardware MIDI input and output. As you look at all these screenshots, you can see just how true that is, with all the UI elements needed to expose the functionality to users in order to make it useful.

What it Will Look Like

The AudioBus blog and Facebook page have given us more visual evidence, in particular demonstrating in animated GIFs some of the really lovely animations that make the interface easier to understand.

How Virtual MIDI and AudioCopy Fit In

Covering the overall iOS workflow is probably due for another post, but AudioBus is just one ingredient. AudioBus will route sound live between applications. For MIDI – notes and triggers – you want virtual MIDI, seen nicely in this video overview:

More on Virtual MIDI at iOSMusician

Then there’s AudioCopy, a technology that lets you copy and paste sounds from one app to another. In some ways, AudioBus solves the problems AudioCopy was meant to solve in a more elegant, flexible way. For any app that works best with sound live – live recording of audio as you play in an app that lacks a record feature, or adding an effect to another app – AudioBus is your best bet. AudioCopy, though, is already widely-supported and available now. It also functions well I think in edit workflows: if you already have recorded audio in one app and want to move it to another, a quick copy/paste will be faster than playing back that sound and recording it in realtime. Here’s an example of it in action:

AudioCopy / AudioPaste is best covered by its developer, Sonoma Wire Works, which explains how it works and which apps are supported.
http://www.sonomawireworks.com/iphone/audiocopy/

Note that these are three completely independent initiatives. But put together, they do provide a more-connected, more productive workflow on iOS.

iOSMusician has a number of app lists covering which apps work with technologies like AudioCopy, virtual MIDI, WIST (start/stop sync), and Dropbox.

Good Reading, Watching

The most up-to-date information is all in a terrific, in-depth interview on Synthtopia, who have also closely tracked AudioBus development:
What Is Audiobus & How Will It Change Mobile Music Making?

Michael, co-creator of AudioBus, explains the idea – on his bicycle.

Sonic State discussed their take on the tech in the spring:

Gizmodo focused on the group jamming capabilities, noting that AudioBus goes beyond what Apple can do with GarageBand alone.

Watch this space for more.

More information:
AudioBus FAQ

http://audiob.us/ with signup (including for developers)

AudioBus at Facebook

AudioBus at Tumblr

Addendum: What About Desktop?

AudioBus on the desktop isn’t out of the realm of possibility. I could imagine building it atop JACK, which is already open source and functional on Mac, Windows, and Linux, even with network features. JACK could certainly benefit from a UI that worked the way AudioBus, and integrated with iOS devices running AudioBus. For now, that’s all just theoretical, though: the AudioBus developers know users want it, but aren’t going there – yet.

See a new video from R&S’s Egyptian Hip Hop

Delivered... RA - The Feed | Scene | Thu 4 Oct 2012 4:11 pm
The label's new electronic pop outfit take to the outdoors on the video for "Yoro Diallo."

See a new video from R&S’s Egyptian Hip Hop

Delivered... RA - The Feed | Scene | Thu 4 Oct 2012 4:11 pm
The label's new electronic pop outfit take to the outdoors on the video for "Yoro Diallo."

Early October Regulatory Requirements – Quarterly Issues Programs Lists, Children’s TV Reports, Captioning of Internet Programs, Noncommercial Ownership Reports, EEO and Renewal Obligations

Delivered... David Oxenford | Scene | Thu 4 Oct 2012 4:06 pm

October is a very important month in the regulatory world, and broadcasters need to be aware of the regulatory deadlines that have already arisen this month, or which will come up in the next few days. This week, TV Newscheck published our latest summary of the state of many of the most significant legal issues facing TV broadcasters at the FCC and in Congress. In looking at the list, it is clear that this month is particularly important for broadcasters. For instance, this is the month that most TV stations outside of the Top 50 markets will first have to deal with the online public file – having to post their Quarterly Issues Programs Lists and Children’s Television reports on their sites. The FCC this week issued a Public Notice of increased functionality of the online public file, partially to handle these obligations. Of course, radio stations also need to have their Quarterly Issues Programs Lists in their paper public file this week – as the lack of these lists is source of many of the fines that are issued during the license renewal process.

Also this month is the start of the obligation for Internet captioning of any programming that had previously aired with captions on TV. The obligation applies to any full TV program that was captioned when broadcast over-the-air after September 30 and is then posted in full on the Internet. The FCC just issued a reminder about this obligation, emphasizing its importance.

EEO obligations also continue to be important, and stations in the following states should have placed their annual public file reports in their public file, and posted it on their websites if they have a website, by October 1. The states and territories affected include: Alaska, American Samoa, Florida, Guam, Hawaii, Iowa, Marianas Islands, Missouri, Oregon, Saipan, Washington state, Puerto Rico and the Virgin Islands.

Radio license renewals should have been filed by radio stations in Iowa and Missouri, and TV stations in Florida, Puerto Rico and the Virgin Islands.

And pre-filing announcements for renewals should have begun for stations with license renewals due at the beginning of December, including TV stations in Alabama and Georgia, and radio stations in Colorado, Minnesota, North and South Dakota and Montana.

Finally, noncommercial radio broadcasters in Iowa and Missouri, and noncommercial TV stations in Florida, Puerto Rico, the Virgin Islands, Alaska, American Samoa, Guam, Hawaii, the Marianas Islands, Oregon, Saipan, and Washington State all need to have filed Biennial Ownership Reports by October 1.

Lots of regulatory deadlines.  With the political broadcasting obligations many broadcasters are dealing with, and with the FCC's recent action on the incentive auction, in October, broadcasters should be focusing on Washington. 

DJs weigh in on the presidential debate, November’s best festivals, Deadmau5 collabs with Ryan Adams, and more

Delivered... Ken Taylor | Scene | Thu 4 Oct 2012 4:00 pm
Well, last night wasn't just a big night for NPR, FOX News, CNN, and the other usual suspects of political punditry. Your favorite DJs and producers also got in on the conversation. Today we take a look at a few of those comments, plus a whole lot more, in the Morning Roundup.

Beautiful Swimmers’ crucial cuts

Delivered... RA - The Feed | Scene | Thu 4 Oct 2012 12:05 pm
The Washington house/disco/edits duo dig deep into their record crate for RBMA.
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