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Indian E-music – The right mix of Indian Vibes… » 2017 » January » 31


Delivered... Spacelab - Independent Music and Media | Scene | Tue 31 Jan 2017 9:00 pm
Ben Nicky, Bryan Kearney and Paul Oakenfold Presents Generations are the first names to be dropped for the Dreamstate San Francisco lineup! Dreamstate is a new trance music festival from Insomniac, in a growing list of electronic music festivals that they create every year. It's all trance for a glorious weekend of bliss.


Delivered... Spacelab - Independent Music and Media | Scene | Tue 31 Jan 2017 9:00 pm
Perhaps the coolest of all festivals on the planet (and one of the oldest), Roskilde Festival has the credibility, history, and coolness that literally no other festival in the world has.

February Regulatory Dates for Broadcasters – EEO Reports and Comments on Ownership, EEO and Copyright Issues

Delivered... David Oxenford | Scene | Tue 31 Jan 2017 5:43 pm

While there is a new administration in charge at the FCC, there are still those regular regulatory dates that broadcasters must face, as well as dates unique to pending proceedings that arise from time to time. Before we get to the February dates, we should remind broadcasters of those January 31 dates that they should be considering, including the deadline for signing up for the Interim License Agreement for those radio stations playing music represented by the new performing rights organization GMR (see our articles here and here). January 31 is also the deadline for payment of SoundExchange yearly minimum fees by webcasters (including broadcasters who stream their music on the Internet), as well as the date for comments to the House Judiciary Committee on the structure of the Copyright Office (see our article here) and with the Copyright Office on the qualifications for a new Register of Copyrights (see our article here).

With the start of February, there are routine regulatory dates for broadcasters dealing with EEO requirements. Commercial and Noncommercial Full-Power and Class A Television Stations and AM and FM Radio Stations in Arkansas, Kansas, Louisiana, Mississippi, Nebraska, New Jersey, New York, and Oklahoma that are part of an Employment Unit with 5 or more full-time employees, must place in their public file (or upload to their online file for TV and radio stations that have already converted) their EEO Public File Reports. Stations also need to put a link to the EEO Public File reports on the home page of their websites, if their station has a website (meaning they have to have a webpage for their most recent report if they have not converted to the online public file). For Radio Station Employment Units with 11 or more full-time employees in Kansas, Nebraska, and Oklahoma and Television Employment Units with five or more full-time employees in Arkansas, Louisiana, and Mississippi, FCC Mid-Term Reports on Form 397 must be submitted to the FCC by February 1. We wrote about FCC Mid-Term Reports here.

Comments are also due in various FCC proceedings of importance to broadcasters. Reply comments are due on February 3 on the Petitions for Reconsideration of the FCC’s Quadrennial Review of its ownership rules (see our articles here and here). Reply comments are also due February 14 on comments that were due yesterday on a proposal to allow online EEO recruitment sources to satisfy the FCC’s requirement that broadcasters widely disseminate information about their job openings (see our summary of the proposal here). Reply Comments are also due on a proposal left from the Wheeler administration on promoting the availability of diverse and independent video programming. These Reply Comments are due on February 22.

We would also expect to see more action on the FCC’s incentive auction, as the “clearing target” for the reverse auction has been met. We’ll see more action in the forward auction and planning for the implementation of the repacking of TV stations into a smaller TV band following the completion of the auction. And, as in every month, we’ll no doubt see many other issues pop up as the new administrations, both at the FCC and more generally in Washington, begin to assert their control.

For other regulatory dates in this and upcoming months, see our Broadcaster’s Calendar for 2017, here.

TouchDesigner 099 does everything with live visuals – now on Mac, too

Delivered... Peter Kirn | Scene | Tue 31 Jan 2017 1:01 pm

It makes things look prettier, with something called “physically based rendering.” It has crazy compositing and capture powers. It’s networked with Web support, talks to DMX gear, and intelligently handles all your MIDI gadgets and capture cards and everything else. It handles VR with HTC Vive. And that’s just a few examples of what is new or improved in version 099.

TouchDesigner is a name you’ll see coming up regularly mentioned in projects. It’s an all-encompassing visual development environment, using a patching (or “dataflow”) metaphor, like Pd, Max/MSP/Jitter, vvvv, and others. That interface is one of the best looking zoomable patch environments, too — enough so that it’s sometimes been featured as part of artists’ performances. And it covers a range of OpenGL-based visual operations for generative graphics, video, lighting control, and other media, making it a favorite tool for live visual performers and installation designers. It just happens to be really good at these things.

TouchDesigner is, basically, one of those rare tools that pushes forward the state of visual expression and electronic performance. And now, after a long history of being Windows-only, it’s in experimental (but very usable) form on macOS, too – though it might get you hooked enough on GPUs that it eventually sells those same Mac users on new PC hardware.

099 is available now in beta – though seems already stable enough to start projects and so on. (You might want to keep it away from that six figure contract.)

That now includes even the non-commercial version – meaning you can try this free if you’re not using it on paid projects. (099 was first released to the wild in October, but now includes the free version, and is nearing release with various updates.)

And wow, is it packed. So, there is a Mac version – details on that soon, including how it differs from the Windows version. Even leaving out some features that require specific Windows integration, it’s an unprecedented level of functionality and expression coming to macOS. But maybe just as important is everything 099 adds to the core tool, far beyond that cross-platform effort. That’ll be significant to new users (Mac and Windows) and vets alike.

Derivative (the developers, and talented artists themselves) go into detail on their site about what’s new – links / resources below. But here’s a quick overview:

Physically-based rendering. Imagine being able to play with substances and materials in a way that looks beautifully realistic – and that integrates with workflows with other tools supporting this method. New environmental lighting support takes full advantage of this, as well.

Compositing improvements. There’s a bunch of stuff here that adds to the powerful compositing toolbox (including noise-based tools), plus new high-performance capture on Windows.

Virtual reality. HTC Vive Development Environment support is the first step into high-performance VR – and involves some complex work behind the scenes involving multiple views (because of the perspective and interaction needed).

By the way, here’s an example of projection mapping using the Vive:

Web connections. Now you can render Web pages — which means you could even create controls with HTML5, too, as well as integrated Web sources in projects.

Capture, DMX, and more hardware integration. Expanded DMX support lets you use more LED lighting environments. There’s added native SDK support for devices like Bluefish and AJA (think 4K capture and output). There’s new motion tracking support, and MIDI improvements for the rest of us. Plus – Blackmagic, OpenVR, Oculus updates, etc. TouchDesigner somehow manages to remain at the forefront of all this.

Scales to high-resolution / high density monitors. Mac users have a pretty easy time on their Retina displays, but on Windows you need to manage scaling to avoid tiny, tiny, tiny text – and Derivative have added complete integration for that. (Just in time for a new laptop to arrive here – great!)

More scripting. Mmmmm… Python. Now Python has various improvements including OpenCV support for computer vision analysis. There’s also documentation to make this friendly to openFrameworks veterans / switchers.

Jessica Palmer talks about using Python with TD:

Ableton Sync support. Not to be confused with Ableton Link, this is a proprietary, expansive system for coordinating visual sets with the sound cues in Ableton Live. So that includes not only timing information and synchronization, but scenes, cues, MIDI notes (and thus musical patterns), loops, and controller information. All the material in your set, in other words, can be the basis of live visuals. It’s even been tested on Amon Tobin and Plastikman tours. More details are in the wiki. (Correction: an early draft of this story very incorrectly identified this as Ableton Link support. I’d still like to see Ableton Link support, in that this means support for other apps and tools, not just Live. But that is really a solution to a different problem. I regret the error.)

And a lot more… Panels have been organized and cleaned up, tons of shader improvements, sample-based workflows, expanded geometry export, math and Syphon improvements, and lots of little details like – “multi-projection fisheye+cube+equirectangular, all with multi-picking.” Awesome, actually. Didn’t know I wanted that, but now I kinda do. Performance is improved, as well.

About that Mac version…


System requirements – you’ll need a decent GPU and on Mac, macOS 10.11 or later (that’ll knock out some Mac users, of course)

New features in 099, plus a full narration of what that’s about

Beta builds are available now

Licenses begin free, and even commercial licenses top out at US$599. (The version that costs two grand features stuff that … well, if you need it, you can afford the two grand version, I bet.)

099 has its own wiki with all the details

The post TouchDesigner 099 does everything with live visuals – now on Mac, too appeared first on CDM Create Digital Music.

Zendaya offers modelling contract to woman who was body-shamed – RadioandMusic.com

Delivered... | Scene | Tue 31 Jan 2017 9:00 am
Zendaya offers modelling contract to woman who was body-shamed  RadioandMusic.com

Zendaya offers modelling contract to woman who was body-shamed – RadioandMusic.com

Delivered... | Scene | Tue 31 Jan 2017 9:00 am
Zendaya offers modelling contract to woman who was body-shamed  RadioandMusic.com

Sampling Stories Vol. 2: Ibaaku

Delivered... Hannes Liechti from Norient | Scene | Tue 31 Jan 2017 7:00 am

Although it has been labeled as an afro-futuristic project and also comes along as such through an eclectic and stylistically hyper diverse sound collage, photographs that evoke moonscapes, alien-like fashion and hairstyles, and music videos with an out-and-out futuristic aesthetic, the 2016 album Alien Cartoon by Senegalese producer Ibaaku (Akwaaba Music) is deeply rooted in current (and also past) places. Connections to Senegalese places such as Dakar or the Casamance can be heard throughout the album and become especially obvious when focusing on the samples used.

Ibaaku (Photo: Jean-Baptiste Joire)

Ibaaku’s music owes to Dakar’s buzzing and sprawling urbanism, home to his recording studio, as much as it does to Casamance’s green stretches and to Sardinia’s rugged landscapes, where he likes to retreat, getting lost to better find himself.

This is how a label-statement reads and how I got curious on how one actually can hear these places through the music. Via email and Skype I discussed these kinds of questions with Ibaaku.

[Hannes Liechti]: Your record studio is situated in the Senegalese capital Dakar. How can we hear the city in these tracks?
[Ibaaku]: Tracks such as «Discuting Food», «Ilwaa», «Yang Fogoye», «Djula Dance», and «Processhun», are clearly inspired in some ways by the noisiness of the place where I live in Dakar. There are loads of factories and auto mechanics around and there is a weekly market, which has its own inspiring soundscape. Everyday you can be sure to hear an army of sabar (a Senegalese percussion instrument) rehearsing or playing for a celebration. In «Muezzin» you can even hear my neighborhood in Dakar with a muezzin, who makes the call to prayer.

[HL]: How did putting this sample into the track come about?
[IB]: Muezzins are part of the soundscape in my country. In general, they use rather rudimentary equipment: megaphones, bad microphones, or very bad speakers. You can hear them blast from miles away. But I didn’t have to enter a mosque, it came to me naturally because I live in front of a mosque. So I was deep in the creative process, experimenting, and it came by accident. The call slipped into the recording I was making at one point. I did not notice it at first. But when I heard it, I felt like I had to use it. I like accidents in music. It’s my way of doing things. I love to let space for intuition.

[HL]: Does the muezzin sample carry a special meaning to you that goes beyond the circumstances of the production?
[IB]: At the end there is always a meaning to these kinds of accidents. The muezzin sample fits so well because it sparks the idea of a spiritual ritual, which is the intention behind some of my music.

[HL]: Can you tell me more about the way you sampled the muezzin? What were your strategies? Did you alter the sample, did you use any effects?
I edited a part where he’s calling the name of God. I didn’t add a lot of effects. I kept it raw. A little reverb and a delay, and it was perfect.

[HL]: If we consider the label statement I quoted above, we can discover more places in Alien Cartoon. What about the Casamance for example? In contrast to the country in general, a very green, subtropical region in the South.
[IB]: When you listen to tracks like «Djula Dance» or «Processhun» the rhythm is clearly rooted in the Casamance. It is repetitive, raw, spiritual and transcendental. It is a rhythm played by the Jola (Diola) people [an ethnic group living in the Casamance; editor’s note] on a percussion set called a Bougarabou. There’s also another component to this rhythm that has influenced me – the clap part.

[HL]: The «rugged landscapes» of Sardinia» have also been mentioned. How can we hear this connection?
[IB]: Traveling is always an inspirational source for my art. I kind of absorb everything in Sardinia, the sea, the mountains, the people, the lights and colors, the silence, the food, everything! But to be honest, especially for this project, it wasn’t a part of the mood. This is more about Africa.

[HL]: Can we hear more places in «Alien Cartoon»? If so, which ones?
[IB]: Yeah sure. I’ve sampled a lot of old Congolese celebration music mostly out of the 70’s, especially voices. All of them are taken from vinyl.

[HL]: In some reviews, these samples have been discussed as «Senegalese» samples, right?
[IB]: Yes, they are referring to the «Congolese» samples. Actually, I’ve only used one or two «Senegalese» samples on Alien Cartoon.

[HL]: What else can we hear?
You can also hear some places that exist in my imagination, or places I knew when I was in other lives.

[HL]: Here we close the circle to the main subject of the album: Alien Cartoon as a futuristic manifesto.
[IB]: I blended all those sonic influences I told you about and put them into a futuristic perspective: an African city invaded by aliens. Dakar is a mutant city. So it was really interesting and challenging to imagine how music would be if extraterrestrials were among us.

Ibaaku (Photo: Jean-Baptiste Joire)

Datablog: is the Hottest 100 really getting more mainstream?

Delivered... Nick Evershed | Scene | Tue 31 Jan 2017 3:55 am

Triple J’s annual music poll has shifted in the type of music played and the number of acts featuring women

Triple J can’t seem to broadcast a Hottest 100 without accruing a series of complaints. Aside from the perennial cries (too much electronic music! Australian hip-hop is terrible!), a few people expressed moderate outrage at pop artists placing in the top 100.

Beyoncé, Guy Sebastian, Kanye West, Drake and Rihanna all made it into the countdown, either as the primary artist on a track or as a guest vocalist (to say nothing of the Justin Bieber cover by Halsey), prompting the usual hand-wringing from people on social media.

@triplej triple J does pop now? Getting worse and worse every year

Just a reminder, Double J play the whole #Hottest100 from 1996 tomorrow. When Triple J were still good. No Beyonce or Beiber

Kanye & Beyoncé in the #Hottest100 - not good, @triplej... Go sit in the corner, listen to the '96 count, and think about what you've done!

Related: Triple J Hottest 100: does Australia's youth broadcaster have an identity crisis? | Shaun Prescott

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