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Indian E-music – The right mix of Indian Vibes… » 2012 » October » 26


Catch Super Flu’s Beatport Live Halloween special this Wednesday

Delivered... Ross Jackson | Scene | Fri 26 Oct 2012 9:00 pm
Next Wednesday, October 31, we welcome Super Flu to our Berlin office for a special Halloween stream! Felix Thielemann and Mathias Schwarz team up to bring us their special blend of pop-tinged tech house. With standout tracks on Monaberry and Traum Schallplatten, the duo has made a name for itself with its colorful approach.

Media : WATCH:  Anya Marina Covers Flo-Rida’s “Whistle”

Delivered... info@filtermmm.com | Scene | Fri 26 Oct 2012 8:51 pm
WATCH:  Anya Marina Covers Flo-Rida’s “Whistle”

It's not every day that you can hear a folk cover of a hip hop song. But alas, we have Anya Marina to thank for providing us with a jovial cover of Flo-Rida's "Whistle."

The video was filmed on 8mm and is available to watch below. 

Enjoy at FILTERmagazine.com

Ramiro Lopez and Coyu team up to make you clap

Delivered... Brittany Gaston | Scene | Fri 26 Oct 2012 8:00 pm
Que bomba! Suara label frontman Coyu teams up fellow Spaniard Ramiro Lopez to bring you the next dancefloor-filler with "Make 'em Clap." Whether it’s the sense of urgency in its build-up, or the hilarity of the urban sample, this tech-house banger is well equipped to literally may you clap.

Get ready for an exclusive Halloween set from Kill The Noise this Wednesday on Beatport Live

Delivered... Ross Jackson | Scene | Fri 26 Oct 2012 7:00 pm
This Halloween we're excited to welcome Kill the Noise into the Denver office for a special Halloween web-scream. He's been called a "new ghoul haunting parties worldwide," so he was the obvious choice for a spooky October 31st set. Bringing his dynamic blend of genres into the mix, he fearlessly slides from electro to breaks with everything in between. Calling labels such as Mau5trap and Slow Roast Records home, this buzzing young producer promises us some big treats (or tricks!) for this special set. Even better still is the never-before-heard material from his upcoming BLVCK MAGIC release that will be aired on the show—so it's a no-brainer.

Reach into a special Bride of Monster Mashbox treat bag for 20 new pre-cut music packs, featuring Layo & Bushwacka!, SIS, Thomas Muller, and tons more

Delivered... Ken Taylor | Scene | Fri 26 Oct 2012 6:00 pm
Well, it's the Friday leading into one of the busiest club weekends of the year, and it's time for you to get cracking with today's special Bride of Monster Mashbox Halloween offering, featuring a grip of new pre-cut music packs for Mashbox, the app that lets you mash-up your favorite dance music and pop songs on your iPad. Get a whole bunch of brand-new tracks from all across the spectrum in today's Mashbox update: - Layo & Bushwacka! - The Big Dream [Olmeto Records] - SIS - Foxy [Bouq] - Angger Dimas - Resurrection [Vicious] - Thomas Muller - City Of Lost Souls [Bpitch Control] - Ramiro Lopez, Coyu - Techno Raw [Noir Music] - Juan Ddd & DJ Smilk - Dollar Bills [Kling Klong Records] - Neelix - Expect What [Spin Twist Records] - DuzzyDAS - Don't Call [Kling Klong Records] - Stephan Barnem, Alex Monster - K.I.S.S. [Frequenza] - More Care - You Are The Sun [Frequenza] - DJ Fronter - 6 PM [The Room] - Jet Project - Yes Yes Y'all [Snatch!] - Ronan Portela, Ariel Rodz - Gum Jah [Mindshake] - F.U.N.O. - Touch Me [Rhythm Lab] - F.U.N.O. - My Secret Love [Rhythm Lab] - Ramiro Lopez - Kissive [Suara] - David Amo & Julio Navas - Jazz It [Fresco Records] - Argy - UK Style [These Days] - Argy - Malibu [These Days] - Coyu - Aruba [Suara]

News : LOOK: Yo Gabba Gabba! And Volcom Release Limited Edition 7”

Delivered... info@filtermmm.com | Scene | Fri 26 Oct 2012 5:31 pm
LOOK: Yo Gabba Gabba! And Volcom Release Limited Edition 7”

The mighty Yo Gabba Gabba! and Volcom have teamed up to create a line of apparel and accessories featuring Yo Gabba Gabba! characters and their celebrity friends.



The products designed to celebrate the Volcom and Yo Gabba Gabba! "Happening," showcases art by Devo's Mark Mothersbaugh, The Flaming Lips' Wayne Coyne, Foo Fighters' Dave Grohl and his daughter Violet, Napoleon Dynamite's Jon Heder, Biz Markie and Jack Black and his son Sam.



You can see the whole collection at Volcom.com/YGG.

And now, if you purchase any Yo Gabba Gabba! x Volcom product, you'll receive a free limited edition 7" featuring unreleased tracks from Wayne Coyne, Biz Markie and Rocket from the Crypt.

Click here to locate a store.

Interview: Mark Wherry, Man Behind Hollywood’s Digital Musical Instruments, Hans Zimmer Collaborator

Delivered... Marsha Vdovin | Artists,Scene | Fri 26 Oct 2012 4:33 pm

Not available in stores: the custom touchscreen solution, running an original sampler, that turns Hans Zimmer’s musical ideas into reality. Mark Werry is the person who made it all possible.

Computer innovator Alan Kay famously said, “The best way to predict the future is to invent it.” Mark Wherry is doing as good a job as anyone of inventing that technology. Powering scores from the latest Batman films to Inception, working closely with Hollywood’s leading meastro Hans Zimmer, the work Wherry is doing really does invent instruments in order to invent sounds. New samplers, new touchscreens, new rigs all have to come together just to keep up with the feverish sound design demands of film and game titles. And with sophisticated surround delivery, at a time when studio veterans complain about the loss of “fidelity,” these sounds get heard more clearly than anything in the history of recording.

And yes, he does all of this with his own code, and big using Windows touchscreens – no iPads in sight.

Our own Marsha Vdovin talks to Mark about his work and career, in a way I think will be aspiring to budding technologists and musical dreamers alike, whether trying to break into the industry or find a breakthrough new instrument in your music. -Ed.

CDM: What exactly is your position there at Remote Control Productions?

Mark: I have a rather grandiose job title: Director of Music Technology. That’s meant many things over the years, but what it means at the moment is developing our own sampler, touch screen software, networked audio and MIDI systems, and all these kinds of toys in the technological realm to assist in the creative workflow.

Wow, that’s a great position to be in, how did you get into this job?

Well, it was funny, most people are interviewed by their prospective boss for the job, but I sort of did the opposite. I was working for Sound on Sound [magazine] in England and I did an interview with Hans [Zimmer] back in 2002. I was also working on a Cubase book at the time and just thought, since he was probably the world’s most prolific Cubase user, I’d try e-mailing him to see if he’d be interested in writing the forward. That was just around the time when Cubase SX had come out, and he said he hadn’t really had a chance to play with it that much, but it sounded like I knew what I was doing, so maybe I could come out and show it to him. So I did, and I guess we must have got on okay. A few months later, I ended up moving over full-time to work with him, and, of course, once I was here I never had time to actually finish the Cubase book.

Can you describe the systems there and how you’ve worked in the custom software?

The main sequencer that Hans uses is Cubase and has been for the last twenty years or so. We’re mostly Windows-based now, which I think people often find surprising. All the samplers are Windows. The only Macs we really use are for running Pro Tools, and that’s more of a legacy thing. I think it’d be interesting to see if we could go to Windows for Pro Tools as well, because it gives you a bit more freedom in the kind of hardware you can use, especially since it’s sort of unknown what Apple’s long-term plans are for the Mac Pro.

Each rig usually consists of a sequencer, and then we have about fourteen computers that run our custom sampler. These are all Dell servers with between 24 and 64 gigs of RAM, dual processors, and 8 to 12 cores — fully decked-out systems. Then we have a couple of mixer computers that basically collect all the audio from the samplers, mix it together over the network, and then that goes into a big Pro Tools system via a normal audio card. We always have as many interfaces as it’s possible to have. In fact, we’ve been running 160-input systems for the last few years, and now we’re looking to move to Pro Tools HDX because 160 inputs are just not enough!

That’s quite a system!

Well, almost all of the custom sounds run in quad, which eats up resources very quickly. That suddenly divides your input count by four, so we really do need lots and lots of inputs. There’s a great deal of sub-mixing that goes on before we even get into Pro Tools, which means that printing synth tracks just takes ages now, since we can only record so many tracks at a time and we need the separation.

How are you moving all that audio around? What type of audio interfacing?

We tend to use the RME stuff as much as possible and have done so for years, mainly because they’ve always had the most reliable drivers. These days we’re mostly using the MADI cards, so it’s MADI from the sequencer into Pro Tools, and MADI out of what we call the NetMix computers that run the sampler audio output.

A view of the original software that keeps the sounds coming.

You also mentioned that you developed some touch screen technology?

That’s another element of the way we work. We’ve been using touch screens since 2004, starting off with a little Windows CE panel that had buttons to do shortcuts for Cubase. We gravitated to an XP-based system in ’06, and then, recently, for The Dark Knight Rises we’ve just put in a really nice 22-inch 3M multi-touch screen that runs with Windows 7. You can create all sorts of faders, shortcut keys, and little sequence oriented things. Originally, some people said, “Why don’t you just use the iPad for this?” And although the iPad’s really nice, it’s quite a small display if you want to have a lot of controls visible at once.

What program is running the touch-screens?

That’s another program I wrote. It’s written completely native for Windows 7, supporting multi-touch and Direct2D for the graphics, so it looks quite pretty. It was written from scratch, and while this new version is a little rough around the edges, one of the advantages of doing this in-house is that it doesn’t have to be as polished as it might be for commercial release. We don’t have to focus on every feature that might be needed by users. We can just focus on the one user — who does tend to be rather demanding anyway, but…

It seems that would really add to productivity.

Oh, yeah, Hans just loves having it. Part of it has shortcut keys for Cubase, and some of the controls are for the samplers. So rather than doing key-switches on the keyboard for changing articulations, like short strings or long strings, it’s all on the touch screen, which makes things a little clearer and easier to see what’s going on.

It’s also used for the different fader controls that we have for the various instruments, because one of the other things about the sample library is that it was recorded as a multi-mic library from the very beginning when we started on the new one in 2004. When I say multi-mic, I mean it was 16 microphones wide. The point being that we could run the sample library exactly as it would be if it were a real recording. Of course, as time has gone on, we’ve added more and more mic positions to the whole thing. I think now we’re recording with something like 33 microphones.

If we had enough computer power, we could actually run the whole library 33 channels wide, though that would be a bit of a nightmare. But what we can do, which is sort of fun, is to take our 33-channel instruments and do bounce-downs within the sampler. We usually bounce to around seven or eight channels, so that each sampler voice is seven or eight channels mixed into quad.

Because of the complexity of the mic positions and the way that the instruments are handled, there are a lot of controls, so it’s nice to have a touch-screen in front of you rather than having to click around with the mouse, and trying to remember which MIDI controller does what. Sometimes Hans spends a long time moving things around on the screen, trying to come up with the most ergonomic workflow.

I know Hans previously used GigaStudio, is the new library based around that?

No. We used to rely on GigaStudio, but when we got to the end of ‘06 and were just starting on Pirates of the Caribbean 3, Hans wanted to use some of our new sounds. Some of them had been programmed as Giga instruments, but it would take a really expensive computer just to play back just the short violins, because, at the time, Giga was 32-bit and didn’t support multiple cores. In fact, at that time, there were no 64-bit, multi-core samplers available.

We tried a whole bunch of things, like using GVI within a multi-core host, but because it couldn’t see the memory of the other instance, there was no way of doing what we needed to do without making the instruments significantly simpler, or just using stereo and not using quad. But we thought, “Well, what’s the point of that, after spending all this time and money to create these incredible-sounding instruments?” So, in one of those moments that you live to regret, I thought, “Well, maybe I can try to cobble something together that just does what we need.” You know, “How hard can it be to write something that’s 64-bit, multi-core to work with strings?”

[Laughs all around] I didn’t know you were a programmer as well.

I wasn’t really a programmer, and I’m still not, but I kind of like fiddling around with this stuff. That was Christmas ‘06, and I played around for a couple of weeks. After Christmas we had something that could, on one computer, play back what we’d previously needed four computers to do. So that was good. Then we did the same for the long strings. At that point, it was just a very specific system to play back certain patches and palettes.

Did you develop that in C++?

I did.

You have your own mixing stage there as well, don’t you?

We have three mix rooms here now, and each one is based around a Euphonix System 5. Usually, the music score is mixed here, and then it goes to the dub stage. We have worked abroad sometimes, and we’ve gone to the production studio on occasion. For Batman Begins, we spent three months at AIR Studios, pretty much taking over the whole building. Then for Pirates [of the Caribbean] 3, Hans moved his writing rig up to Disney, just to be close to the editing room. But on the whole, we mostly stay here. We’re pretty much self-contained, which is really nice. There are many people that work here now — engineers, mixers, composers, technicians — so there are quite a lot of people around if something needs to get done.

Do the other composers have access to the same master system?

Anyone who works here can use the samples if they want. Which means, of course, they have to spend a ton of money on some very powerful computers. Some composers do it, and some don’t. It’s up to them. In a way, I prefer as few people to use it as possible, because it means fewer headaches for me! [Laughs] But it’s quite nice to see the stuff get used, and some composers do use the bouncing features to remix the whole library to their own particular taste.

You must have the most stressful job!

It can be. I remember when we did The Dark Knight in ‘08, it was the first time I had a go at doing this network audio stuff. I remember thinking at the time, “God, I really hope this works!” Because we would have been kind of screwed if it hadn’t.

There were times in the early days, since it was just so unproven, that I was really nervous about things crashing or dying, but it actually has turned out to be okay. I think part of that is, again, there’s a simplicity in having a limited set of users. I know there’s stuff that does go on that I don’t always hear about, but people are quite good at just working around the bumps and getting on with it. Unless it’s something fatal, I tend not to get the midnight phone call.

But, having your own customized system must give you a lot of freedom.

I think it really does give everyone a creative advantage, especially Hans. On Dark Knight Rises, for example, he said one night, “Would it be possible to have a fader that converges all the notes of a held chord into one pitch — kind of like a polyphonic pitch bend?” Within an hour or so, I’d written a little plug-in into the sampler that could basically do that. So I think there’s something to be said for not being completely reliant on other companies, having to call them and say, “Hey, we’d really like this feature!” or “Is it possible to script this?” Because we’re doing our own stuff, it gives us a little more flexibility, and it’s a hell of a luxury. We have six people that just do sample content and instruments for us, three people in Germany and three people here. Claudius Bruese is in charge of recording and developing the main orchestral palette in Germany, and he’s been a great collaborator in getting to where we are now in terms of the quality and playability of the library.

That’s quite a team.

It’s unusual for a film composer to have this level of development in-house. But I think my job is basically created because Hans is really obsessed about how technology can help in what he wants to achieve as a composer.

Unofficial site: Mark Wherry @ hans-zimmer.com

Ableton Posts Nearly Hour-Long Live 9 and Push Preview Event from Berlin

Delivered... Peter Kirn | Scene | Fri 26 Oct 2012 4:06 pm

Can’t get enough Live 9 information? In cased you missed it, here’s a nearly hour-long presentation. It’s notable for Ableton founder and CEO Gerhard Behles talking about what matters in an instrument, then “discovering” that Push fits in a backpack, for Dennis DeSantis doing a beautiful job of showing what really musical workflow looks like, and Jesse Terry brave enough to do a live set on hardware that’s only just been finished. I say this partly because I have to do presentations, too, and – it’s not easy. I think they do a good job of sharing their ideas honestly and clearly; it’s up to you to judge whether those ideas fit your music and whether you invest in their creation.

Bonus: isomorphic pitch layouts.

The setting is the private event you may have heard about. Last week in Berlin, a number of artists, partners, and press were gathered along with Ableton employees to witness a private event launching Live 9. I became briefly concerned that I was going to find out I was already dead, or having some strange dream, given the number of people I knew who were there. (Crap – really, we didn’t manage to get off the island? Did the plane crash on the way to LAX for NAMM ever happen? I’m so confused.) People came all the way from New Zealand. I came all the way from Kreuzberg.

It’s also worth noting that Robert Henke is not in this video. While, even viewed from the outside, Robert clearly continues to influence what Ableton does, the best place to find him is doing extraordinary work in performance and research, internationally. I point this out only because I think some people assume everything in Live springs from Robert’s head. That’s not the case – and it fails to appreciate all the other things springing from Robert’s head. It must be nice to focus on being a user of Live; I’m sure given what I’ve heard about gen that he’ll do some incredible work there.

Anyway, now the content of this presentation is available to all of you. Let us know if you see anything you missed. And enjoy the dog and pony show. (Darn, now I want to see a show with dogs and ponies.)

Stefan Goldmann’s (Un-)Rigid Chain

Delivered... RA - The Feed | Scene | Fri 26 Oct 2012 4:03 pm
Something's a little off about the train ride featured in this music video for a track off the Macro boss' recent full-length, 17:50.

Wait… what? Jay-Z just signed Sander Van Doorn to his label? Plus Tiga’s New Jack Techno and a bunch of free stuff!

Delivered... Ken Taylor | Scene | Fri 26 Oct 2012 4:00 pm
Yep, that seems to be the case—SVD is now on Jay-Z's Roc Nation. So read on for more details, plus grab some free music from John Talabot, Pional, and Artifact, in today's Morning Roundup.

Luke Solomon: The return of The Digital Kid

Delivered... RA - The Feed | Scene | Fri 26 Oct 2012 12:02 pm
Defected and Solomon discuss his return to the alias for a forthcoming album.

Toronto bass producer Egyptrixx talks about his year of collaborations and what lies ahead

Delivered... KC Orcutt | Scene | Fri 26 Oct 2012 12:00 pm
Dave Psutka, who records as Egyptrixx, has come a long away since his debut LP Bible Eyes became the first solo artist album released on leading UK bass label Night Slugs. The Toronto-based producer has spent the past year working on a handful of collaborations and preparing for a fall run of tour dates. Most recently, Psutka teamed up with fellow Canadian bassist and songwriter Ian McGettigan, and the two, working under the collective alias Hiawatha, produced a new album, Language, which was recently released by Last Gang Records. Last week, we caught up with Psutka at the annual CMJ Music Marathon to learn more about his creative process and what's in the cards for him next.

New Order’s Peter Hook talks about three decades of the Hacienda’s nightclub legacy

Delivered... Joshua Glazer | Scene | Fri 26 Oct 2012 8:00 am
From hosting legendary Einstürzende Neubauten gigs to inspiring Michael Winterbottom's modern classic, 24-Hour Party People, Manchester's legendary Hacienda sits next to clubs like New York's The Paradise Garage, Chicago's Music Box, and Berlin's Tresor in the pantheon of venues that defined an entire musical movement. Opened in 1982 as an offshoot of Factory Records, the venue was largely funded by label hit-makers New Order. By the late '80s, it was ground zero for the explosion of acid house that would define the first wave of the global rave movement. A new compilation, Hacienda 30, celebrates three decades since the club first opened its doors. The three-CD set focuses on the heady acid house days, with mixes up by resident DJs Graeme Park and Mike Pickering, as well as New Order bassist Peter Hook. Beatport spoke with the always gregarious Hook to try to understand why, 30 years later, the sound of the Hacienda and the scene that it inspired continues to capture the imagination of dance music fans young and old.

Watch the video for Tensnake’s new single

Delivered... RA - The Feed | Scene | Fri 26 Oct 2012 7:03 am
It's all about the retro '90s styling on the clip for Tensnake's "Mainline."

News : OBSESSIVE COMPULSIONS: FILTER’s Weekly Picks

Delivered... info@filtermmm.com | Scene | Fri 26 Oct 2012 5:25 am
OBSESSIVE COMPULSIONS: FILTER’s Weekly Picks

FILTER likes music. There's no hiding it. We also like our own opinions a whole bunch, so once a week we give the masses a fleeting glimpse into our selective stereos and Internet browsers to let them see firsthand what fuels our endless devotion. We like to think of it as community service. We're selfless like that. So without further ado, here are the official, inarguable, objectively good FILTER Weekly Picks—providing everything from new LPs you should be spinning to the latest good-fer-you videos. Yeah, we're good at what we do:

Continue reading at FILTERmagazine.com
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