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Indian E-music – The right mix of Indian Vibes… » 2012 » October » 24

News : LIVE: Local Natives Perform Secret Show At The Satellite 10/23

Delivered... info@filtermmm.com | Scene | Wed 24 Oct 2012 11:18 pm
LIVE: Local Natives Perform Secret Show At The Satellite 10/23

It has been nearly two years since Silver Lake's Local Natives performed in Los Angeles. Since their last local performance, there have been a multitude of bands sprouting up and championing the east side of L.A.'s music scene, such as the show openers Superhumanoids, who are fresh off their redicency at The Echo.

However, after leaving last night's secret performance at The Satellite, a friend of mine turned to me and described Local Natives as hometown heroes. And I couldn't agree with him more. Despite the success of many local acts, no band garners a crowd's attention like the three-part harmonies of Kelcey Ayer, Taylor Rice and Ryan Hahn, or the intricate percussion of Matthew Frazier.

Continue reading at FILTERmagazine.com

Terravita tell us about 10 of their key inspirational tracks

Delivered... Sean Lewis | Scene | Wed 24 Oct 2012 10:00 pm
Matt Simmers, Chris Barlow, and Jon Spero are in a pretty enviable place. Not only are they are a part of the successful D&B trio Terravita, but they also operate with equal success as the electro-house-focused Hot Pink Delorean. While the priorities can easily switch between the two projects, in the last couple years, the trio has refocused their efforts on Terravita's line of drumstep productions, and as such, these boys are busier than ever with tour dates, releases, relocations, and remixes galore. We chased the guys down to ask if they could give us the story behind their inspiration. They put together a list of tracks that made them want produce music in the first place and ones that helped to evolve the Terravita sound of today.

Beatport News hits CMJ’s DJ panels and showcases

Delivered... KC Orcutt | Scene | Wed 24 Oct 2012 8:00 pm
They weren't kidding around when they named the now 32nd-annual College Music Journal-organized affair a music marathon. It's exactly that—a scattered, choose-your-own-adventure taking place in various venues and neighborhoods in Manhattan and Brooklyn for five non-stop days and nights. For those living in New York, CMJ is just another week in an already bustling, event-saturated city, but for those participating in CMJ on any scale—from performer to panelist to ambitious attendee—it's an opportunity to be both willingly and constantly exposed to new, independent music. This year, more than 80 venues hosted over 1,300 artist performances for a fast-paced week of discovery. CMJ set up camp at New York University's Greenwich Village campus to host over 80 panels focusing on all aspects of modern music culture, ranging in topics from online music marketing to creating music for videogames. We hit up a few of them over the weekend.

Watch Two Fingers – “Vengeance Rhythm” (video)

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Oct 2012 8:00 pm
It's being billed by the Amon Tobin camp as a "brutalist masterpiece," so feast your eyes and ears on the new Two Fingers video for the song and see for yourself.

Listen to How to destroy angels_ – “Keep It Together” (Dave Sitek remix)

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Oct 2012 8:00 pm
Earlier this month, the Trent Reznor, Mariqueen Maandig and Atticus Ross project How to destroy angels_ released the song “Keep It Together,” and now they've released the Dave Sitek remix.

Watch Aimee Mann on Jimmy Fallon – “Labrador” (video)

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Oct 2012 8:00 pm
Aimee Mann was on Late Night with Jimmy Fallon last night, to play the song “Labrador” off of her album Smilers.

You Too, Can Get a Giant-Sized Ian Brown Box Set For the Holidays

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Oct 2012 8:00 pm
The Stone Roses reunion has been good all the way around, but are you really getting enough Ian Brown in your daily music diet?

Sneak-Thief’s Sneaquencer is a DIY Monster, Dream Hardware for Performance [Open Source Music]

Delivered... Peter Kirn | Artists,Scene | Wed 24 Oct 2012 7:27 pm

You can dream of something, you can complain about it on forums, or you can do it.

Sneak-Thief, aka Michel Morin, is a doer. And what’s great about him is that he doesn’t just produce geeky, obsessive hardware – he has the musical chops to match. He can wrangle his own hardware, coding in C, but he can also make people dance. Designing hardware isn’t just an exercise in doing something because he can – it’s part of his musical expression, the line between his ideas and reality. Talking to Michel about what he’s done, he really focuses on his musical needs.

I’m thrilled to host Michel’s performance this Saturday at Open Source Music in Berlin, as part of Retune Conference. For all of you out in CDM-land, though, we get to groove to his musical mix and get some insight into his MIDIbox-based hardware. Let’s start out with some music – a live mix in Rio, and an original track Michel says is a “joke” (but I like jokes):

Here’s how Michel sums up the aptly-named Sneaquencer:

For years I’ve been dreaming of a live-performance sequencer that would give me the power and flexibility to perform music with a perfect balance between the ability to control, improvise & automate. Drawing heavily on sequencing paradigms developed at Yamaha (16 sections with multiple tracks per section), I built and programmed my own.

Developed using MIDIbox boards
and programmed in C.
2 independent sequencers, one of which can be slaved to the other.
Each sequencer will be able to load one “song” at a time. A song is chosen by the push-button rotary encoder.
16 sections per song
6 tracks per section that can be muted or unmuted with the track-mute buttons
256 measures per track – this is where this really differs from the Midibox Seq

So, that’s the technical side. But what’s this about musically? As Michel tells it, it was designing around his own conception of how musical performance could work. Since it’s not immediately obvious from all those buttons and knobs, Michel tells CDM how he goes about preparing a set:

It’s a pretty straightforward system: I break down my finished songs into up to 6 stems, eg. drums, bass, melodies, vox, fx.

Then each song is divided into up to 16 sections. All samples are loaded into any sampler, hardware or software. I use NI Kontakt because of its great scripting language and direct-from-disk streaming.

This lets me pick any part of any song and be able to play it immediately with no load time or latency. So I could choose, for example, the drums from the chorus of one song (on Song A of the Sneaquencer) and play melodies from another track on Song B. All mixed and matched on the fly, and tempo-synced using a simple but effective Kontakt script that changes the pitch of the song to keep in time…. because I hate what almost all realtime time-stretching algorithms do to drum transients.

The Sneaquencer does for his live sets what software like Ableton Live does, but with his own twist. Michel elaborates:

When it comes to being able to randomly playback material from a large sample set, Ableton Live has suffers from a linear sequencing paradigm. In other words, if you have a lot of material grouped into “songs” and you want to be able to instantly select and play clips, you’re screwed. I see my friends regularly banging their heads against these limitations: you either have to line up all your clips groups beforehand or stop everything to load new material.

The Sneaquencer solution is extremely elegant. It consists of two independent midi pattern sequencers, each with up to 16 sections and 6 tracks – including track mutes, tempo controls and knobs for controlling effects.

When I prepare a song for live performance, I divide it into up to 6 stems for kick, percussion, bass, melodies, vocals and effects. These 6 stems are all split in up to 16 sections, e.g. intro/verse1/chorus1/verse2/chorus2/break/chorus3/outro and so forth.

I chose Native Instruments Kontakt as my main sampler because it has direct-from-disk streaming and a nice scripting language. Each song is made up of samples that are grouped as an “instrument” which can be instantly loaded with a midi program-change command. I currently have about 60 songs loaded in Kontakt with a whopping 10gb of samples. All have midi-controlled effects mapped to the various stems, e.g. low and hi-pass filters, chorus, delay, phaser, flanger, bitcrusher.

On the Sneaquencer, I can choose any song and it will instantly begin playing. Since it has two independent sequencers, I can mix and match everything on the fly: “Oh how about the drums from this song mixed with the melodies from this one? Or the vocals from this other track mixed in with this track’s bassline?”

It’s a live performer’s paradise – I can change directions any time and mix and match material to create unique and reactive live sets. The best part is that the laptop running Kontakt stays closed the whole time since Kontakt is loaded automatically on boot.

Everything is tempo-sync’d thanks to some nifty Kontakt scripting which matches everything using simple pitch-bend commands… like when you beat-match a vinyl record. These is great because you don’t have any nasty realtime time-stretching artifacts that turn percussive transients into a stuttering mush.

The “open source” part of this is that the code is all available for your perusal. If you’re learning C programming for hardware, you can gain some lessons from Michel’s creation – or, even if your knowledge is limited, you can have a quick glance. The code is available below. You can also read up on the process that led to Sneaquencer’s creation:

LivePA forum


Stay tuned; after the event Saturday, I will follow up with the artists.

If you’re in Berlin… our Open Source Music party/performance is:

at Krach Studios: http://krach-studio.com/studio/
Part of Retune: http://retune.de/programm/

Retune Conference runs from 26th to 28th October.

Open to all (not just Retune attendees); 5 EUR suggested donation.

RSVP on Facebook event

Step Sequencing from iPad, with Koushion + Ableton Live [Video]

Delivered... Peter Kirn | Scene | Wed 24 Oct 2012 6:17 pm

Part of the utility of the iPad is its power to transform into whatever you want it to be, the black, empty screen fitting any role you happen to need in the studio. Our friend Chris Stack shows off the combination of Ableton Live with the Koushion step sequencer on the iPad.

Koushion is capable of sequencing hardware as well as software, provided a compatible interface. I don’t normally copy-and-paste, but here, let’s give ourselves a break. Features:

  • 16 steps per scene (up to 128 steps in chain mode)
  • 8 scenes with independent midi channel per scene
  • 4 playback modes: single, simultaneous, chain, rebound
  • Key switching between any major, minor, or pentatonic scale
  • Adjustable quantization (1, 1/2, 1/4, 1/8, 1/16 and 1/32)
  • Quantized scene switching
  • MIDI clock send/receive
  • Tap to set tempo (great for syncing with a live band)
  • Velocity control
  • Monophonic drawing mode (only allows one note per step; great for programming leads)
  • Wireless connectivity via CoreMIDI Network Sessions or rtpMIDI
  • Automatic integration with other apps via CoreMIDI virtual ports. Open up a synth in the background and Koushion will trigger the notes!


See a new Miguel Campbell video

Delivered... RA - The Feed | Scene | Wed 24 Oct 2012 6:08 pm
The Hot Creations producer goes cute and cartoony on the video for "Rockin' Beats."

Ben Pearce hits the deep house chart’s top spot with "What I Might Do"

Delivered... Christine Kakaire | Scene | Wed 24 Oct 2012 6:00 pm
Ben Pearce’s “What I Might Do” has moved in a blur since its release a couple weeks ago: It quickly claimed the top spot of the deep house charts and is currently stalking its way up the single-digit ranks of the Beatport Top 100. The Manchester producer’s slinky late-night deep house and skillful handling of a bluesy vocal sample is what's taken him there, and “What I Might Do” is set to become one of the year's biggest tunes. Here, the rising star describes pulling his hair out for hours over a production, and what it feels like to realize that your track is about to hit the big time.

Watergate turns 10, FlyLo talks porno, and Amon Tobin’s new teddy-bear slaughterfest video

Delivered... Ken Taylor | Scene | Wed 24 Oct 2012 5:00 pm
Folks, we've got a lot of videos on deck for you in today's news: a video portrait of Dennis Ferrer (which features a quick shot of Danny Tenaglia knockin' back a Bud Light), a trailer for the new Watergate documentary, and a rather gorey Amon Tobin clip. So let's get to it.

REVIEW: GR – "Low-Born"

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Oct 2012 4:00 pm
Definitely recommended for the speed freak rock fan that lives somewhere deep down inside us. Listener beware -- I'm curious to know how an entire album of this insanity would play.

SXSW Is Going to Las Vegas, Baby! It’s SXSW V2V!

Delivered... Spacelab - Independent Music and Media | Scene | Wed 24 Oct 2012 4:00 pm
This brings a whole new definition to your wildest party exploits happening at SXSW ... because what happens in Vegas stays in Vegas, right? That means you can go completely wild at the new SXSW Las Vegas in 2013, it might actually be encouraged. So it is for SXSW Las Vegas, formally titled SXSW V2V, with four days of panels, workshops and hedonism in America's city of sin.

Lucy talks Lee ‘Scratch’ Perry

Delivered... RA - The Feed | Scene | Wed 24 Oct 2012 3:03 pm
The experimental techno artist dissects Perry's Blackboard Jungle Dub album for FACT, and divulges information regarding his new collaborative projects on Mote-Evolver and Stroboscopic Artefacts.
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