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

Someone at Bitwig is working with Ableton Link on GitHub

Delivered... Peter Kirn | Scene | Tue 28 Feb 2017 11:28 pm

One postlude to the Bitwig announcement – yes, someone at Bitwig has forked Ableton Link support. Have a look:


Thanks to one sharp-eyed Twitter reader for catching this one!


The reason is interesting – ALSA clock support on Linux, which would make working with Link on that OS more practical.

Now, Ableton has no obligation to support Bitwig as far as integrating Link into the shipping version of Bitwig Studio. Proprietary applications not wanting to release their own code as GPLv2 need a separate license. On the other hand, this Linux note suggests why it could be useful – Bitwig are one of the few end user-friendly developers working on desktop Linux software. (The makers of Renoise and Ardour / Harrison MixBus are a couple of the others; Renoise would be welcome.) But we’ll see if this actually happens.

In the meantime, Bitwig are contributing back support for Linux to the project:


The post Someone at Bitwig is working with Ableton Link on GitHub appeared first on CDM Create Digital Music.

Dieter Doepfer made the Nintendo Power Glove work for Kraftwerk

Delivered... Peter Kirn | Artists,Scene | Tue 28 Feb 2017 10:56 pm

German YouTuber “studentsmusic” has come across the Nintendo Power Glove mod used by none other than Eurorack originator Dieter Doepfer. And he had a hell of a client – Kraftwerk.

Now, whether you have any desire whatsoever to don some gloves and wave your hands around, the peculiar category of music glove has a long history intertwined with a lot of today’s thinking about music, controllers, and expression.

Michel Waisvisz gets a brief mention here, but it’s worth noting that his project “The Hands,” originating in 1984, was one of the first gestural controllers and likely shaped many other devices after. I would presume it’s possible someone at Nintendo was even aware of his work. The Power Glove, for its part, came later – 1989-1990. And certainly from that point on I suspect you can credit Waisvisz and the Amsterdam research center STEIM for suggesting that waving your hands around could be used for music.

In addition to custom-engineered solutions, since Nintendo’s debut musicians have been hacking gaming solutions, too. (Actually early in CDM’s life I was compiling these – as in this set of 2005 links to accompany something I wrote for Computer Music. Ooh, but that’s weird for me to read. Moving on.)

Anyway, Dieter’s creation is really quite clever – and it’s worth watching the video here.

Now, Nintendo is about to release another set of gestural controllers in the form of Switch. Even if you aren’t into gaming, the Nintendo launch game for that hardware is full of ideas. The Verge claim this is sophisticated technology, but my bet is the actual hardware is pretty simple and this is just smart, finely-tuned code.

Note the use of the mic for control, for instance – that’s something you can use.

So I don’t think any of these ideas are exhausted yet. But it does mean it’s time again to do this:

God, that music is so good. Or it’s so bad. (It’s J. Peter Robinson, who while perhaps not a household name is the sound of countless 80s movies and a ridiculous amount of pop arrangement.) And yes, that really is Jenny Lewis. I… digress.

via Resident Advisor

The post Dieter Doepfer made the Nintendo Power Glove work for Kraftwerk appeared first on CDM Create Digital Music.

Bitwig Studio 2 DAW Now Available

Delivered... Emusician RSS Feed | Scene | Tue 28 Feb 2017 10:45 pm
Berlin, Germany | February 28, 2017 - Released in 2014, Bitwig Studio 1 was the first music production software to combine linear and non-linear sequencing on Windows, macOS and Linux. It combined cu..

Bitwig Studio 2 is here, and it’s full of modulators and gadgets

Delivered... Peter Kirn | Scene | Tue 28 Feb 2017 8:48 pm

Go go gadget DAW. That’s the feeling of Bitwig Studio 2, which is packed with new devices, a new approach to modulation, and hardware integration.

Just a few of these on their own might not really be news, but Bitwig has a lot of them. Put them together, and you’ve got a whole lot of potential machinery to inspire your next musical idea, in the box, with hardware, or with some combination.

And much as I love playing live and improvising with my hands, it’s also nice to have some clever machinery that gets you out of your usual habits – the harmonies that tend to full under your fingers, the lame rhythms (okay, that’s me I’m talking now) that you’re able to play on pads.

Bitwig 2 is full of machinery. It’s not the complete modular environment we might still be dreaming of, but it’s a box full of very powerful, simple toys which can be combined into much more complex stuff, especially once you add hardware to it.

A few features have made it into the final Bitwig Studio 2 that weren’t made public when it first was announced a few weeks ago.

That includes some new devices (Dual Pan!), MIDI Song Select (useful for triggering patterns and songs on external hardware like drum machines), and controller API additions.

The controller API is a dream if you’ve come from (cough) a particular rival tool. Now you can code in Python, but with interactive feedback, and performance – already quite nice – has been improved.

I’m just going to paste the whole list of what’s new, because this particular update is best understood as a “whole big bag of new things”:


A re-conceptualized Modulation System
Numerous device updates, including dynamic displays and spectrum analyzers
Remote controls
Fades and crossfades
VST3 support
Better hardware integration
Smart tool switching
Improved editor workflow
MIDI timecode support
New menu system
Notification system
Adjustable track height in arranger
Controller API improvements
…and much more


Audio Sidechain
Beat LFO
Classic LFO
Envelope Follower
Note Sidechain

Audio FX

Spectrum analyzer
Pitch shifter
Dual Pan

Hardware Integration Devices

MIDI Program Change
MIDI Song Select
HW Clock Out
HW CV Instrument

Note Effects

Note Echo
Note Harmonizer
Note Latch
Note Length
Note Velocity

At some point, we imagined what we might get from Bitwig – beneath that Ableton-style arrangement and clip view and devices – was a bare-bones circuit-building modular, something with which you could build anything from scratch. And sure enough, Bitwig were clear that every function we saw in the software was created behind the scenes in just such an environment.

But Bitwig haven’t yet opened up those tools to the general public, even as they use them in their own development workflow. But the new set of modulation tools added to version 2 shouldn’t be dismissed – indeed, it could appeal to a wider audience.

Instead of a breadboard and wires and soldering iron, in other words, imagine Bitwig have given us a box of LEGO. These are higher-level, friendlier, simple building blocks that can nonetheless be combined into an array of shapes.

To see what that might look like, we can see what people in the Bitwig community are doing with it. Take producer Polarity, who’s building a free set of presets. That free download already sounds interesting, but maybe just as much is the way inw which he’s going about it. Via Facebook:

The modulation approach I think is best connected to Propellerhead Reason – even though Reason has its own UI paradigm (with virtual patch cords) and very distinct set of devices. But while I wouldn’t directly compare Reason and Bitwig Studio, I think what each can offer is the ability to create deeply customized performance and production environments with simple tools – Reason’s behaving a bit more like hardware, and Bitwig’s being firmly rooted in software.

There’s also a lot of stuff in Bitwig Studio in the way of modernization that’s sorely missing from other DAWs, and notably Ableton Live. These have accumulated in a series of releases – minor on their own, but starting to paint a picture of some of what other tools should have. Just a few I’d like to see elsewhere:

  • Plug-in sandboxing for standard formats that doesn’t bring down the whole DAW.
  • Extensive touch support (relevant to a lot of new Windows hardware)
  • Support for expressive MIDI control and high-resolution, expressive automation, including devices like the ROLI hardware and Linnstrument (MPE).
  • An open controller API – one that anyone can use, and that allows hardware control to be extended easily.
  • The ability to open multiple files at once (yeah, kind of silly we have to even say that – and it’s not just Ableton with this limitation).
  • All that, and you can install Bitwig on Linux, too, as well as take advantage of what are now some pretty great Windows tablets and devices like the Surface line.

    There’s also the sense that Bitwig’s engineering is in order, whereas more ‘legacy’ tools suffer from unpredictable stability or long load times. That stuff is just happiness killing when you’re making music, and it matters.

    So, in that regard, I hope Bitwig Studio 2 gets the attention of some of its rivals.

    But at the same time, Bitwig is taking on a character on its own. And that’s important, too, because one tool is never going to work for everyone.

    Find out more:

    The post Bitwig Studio 2 is here, and it’s full of modulators and gadgets appeared first on CDM Create Digital Music.

    Modstep iPad sequencer is now packed with drum kits, MIDI templates

    Delivered... Peter Kirn | Scene | Tue 28 Feb 2017 7:13 pm

    There are apps, and then there are apps with a studio soul. Modstep feels like it uniquely qualifies as the latter. If you’ve just got your iPad, it’s built with lots of interoperability with other apps in mind. And then combine it with hardware, and out of the box, it makes all that outboard gear more useful.

    What does it do, and what it’s about? I could try to explain, but really six-year-old Maja does a much better job. (That’s how she won the Modstep video production contest.) She loves her 909 and her 303 and enjoys this more than playing games. The stickers thing is really smart, too – top tip. Digital native for the win.

    So Modstep 1.2 is a point release for this US$19.99 app, but what it adds is a lot more of what was there.

    When it comes to software interoperability, you get support for presets in Audio Unit v3 — letting you save presets for software instruments and the like, with supported apps. There’s also Audiobus 3 compatibility.

    You also get a whole bunch of new Sample Kits. They’re a beautiful way to get started, and they’re also a reminder of how useful sampling is in Modstep. These cover not only the expected drum kit territory, but also a mess of “tonal” kits based on synth samples. Since you can mangle and modify these and put them in loads of different contexts, that naturally could lead to a lot of new musical ideas. The developers provided CDM with a list:

    New drumkits:

    MBase Kicks
    MFB 522
    MFB TM

    New Tonal Kits:
    404 Acid
    404 Deep Bass
    404 Noise
    CS Chord
    Dirty Triode
    MS20 Brazz
    MS20 Lobass
    MS20 Noisquare
    MS20 Squaring
    MS20 Tuna
    SEM Square
    TB 03 Acid 1
    TB 03 Acid 2
    TB 03 Bass
    TB 03 Bass 2
    TB 03 Rev
    Triode Blops
    Triode Skreamer
    Triode Subsaw
    Vlc Keys 5th
    Vlc Keys URI

    Okay, so that covers your soundware. But what if you like hardware? Well, there are a bunch of new hardware templates baked into the app, too – on top of the generous selection already included.

    What this means is, without digging out a MIDI spec somewhere, you can pull up a preset by name and instantly automate it – no futzing with MIDI CC numbers required. And our very own MeeBlip is included, meaning now every generation of MeeBlip has full support. (Just sayin’ – yeah, I’m a bit biased!)

    Template support:

    Roland TR-09
    Roland TB-03
    Modal CRAFTsynth
    MeeBlip triode
    Korg monologue
    Elektron Analog Heat

    There are loads of fixes and workflow improvements, too, in particular improving Auto Save functionality. The only bad news (for some of you with older iPads, anyway): you now need iOS 8 or later.

    Launch video, in case you liked what I just said and sort of what the important bits of it flying at your screen:

    A gallery, showing instrument integration and saves:





    Go get it:


    The post Modstep iPad sequencer is now packed with drum kits, MIDI templates appeared first on CDM Create Digital Music.


    Delivered... Spacelab - Independent Music and Media | Scene | Tue 28 Feb 2017 2:00 pm
    To hear Why Love Now is to wade through a quagmire of droning beats, uncomfortable lyrics, belly-aching vocals, tongue in cheek attitude and it’s awesome every step of the way.

    Now you can sync up live visuals with Ableton Link

    Delivered... Peter Kirn | Scene | Mon 27 Feb 2017 8:43 pm

    Ableton Link has already proven itself as a way of syncing up Ableton Live, mobile apps (iOS), and various desktop apps (Reason, Traktor, Maschine, and more), in various combinations. Now, we’re seeing support for live visuals and VJing, too. Two major Mac apps have added native Ableton Link support for jamming in recent days: CoGe and VDMX. Each of those is somewhat modular in fashion, too.

    Oh, and since the whole point of Ableton Link is adding synchronization over wireless networks or wired networking connections with any number of people jamming, you might use both apps together.


    Here’s a look at CoGe’s Ableton Link support, which shows both how easy configuration is, and how this can be used musically. In this case, the video clip is stretching to the bar — making CoGe’s video clips roughly analogous to Ableton Live’s audio clips and patterns:

    CoGe is 126.48€, covering two computers – so you could sync up two instances of CoGe to separate projectors, for instance, using Link. (And as per usual, you might not necessarily even use Ableton Live at all – it might be multiple visual machines, or Reason, or an app, or whatever.)



    VDMX is perhaps an even bigger deal, just in terms of its significant market share in the VJ world, at least in my experience. This means this whole thing is about to hit prime time in visuals the way it has in music.

    VDMX has loads of stuff that is relevant to clock, including LFOs and sequencers. See this screen shot for some of that:


    Here are the developer’s thoughts from late last week:

    VDMX and Ableton Link integration [Vidvox Blog]

    Also, they reflect on the value of open source in this project (the desktop SDK is available on GitHub). They’ve got a complete statement on how open source contributions have helped them make better software:

    Open Source At VIDVOX

    That could easily be a subject of a separate story on CDM, but open source in visuals have helped make live performance-ready video (Vidvox’s own open Hap), made inter-app visuals a reality (Syphon), and has built a shader format that allows high-performance GPU code to be shared between software.

    Now go jam

    So that’s two great Mac tools. There’s nothing I can share publicly yet, but I’ve heard other visual software developers tell me they plan to implement Ableton Link, too. That adds to the tool’s momentum as a de facto standard.

    Now, getting together visuals and music is easier, as is having jam sessions with multiple visual artists. You can easily tightly clock video clips or generative visuals in these tools to song position in supported music software, too.

    I remember attending various music and visual jams in New York years ago; those could easily have benefited from this. It’ll be interesting to see what people do.

    Watch CDM for the latest news on other visual software; I expect we’ll have more to share fairly soon.

    The post Now you can sync up live visuals with Ableton Link appeared first on CDM Create Digital Music.

    Totally Independent

    Delivered... Miguel Hilari | Scene | Mon 27 Feb 2017 2:38 pm

    In «Nunca Tendremos Mar» the Bolivian experimental hardcore punk band Gato Diablo is negotiating with a national trauma, that is, to have lost the access to the sea in the The War of the Pacific between 1879 to 1883. In the podcast the two Gato Diablo members Bernardo Reb Rojas and Espírito speak about what it means to live in Boliva, funding strategies of their music and nationalistic feelings in Bolivia. A podcast from the Norient exhibition Seismographic Sounds, produced by Miguel Hilari.

    Quotes from the Podcast

    «To live in Bolivia means that I have a lot of opportunities that other people don’t have and also a lot of barriers and problems that other people don’t have. Here we have some kind of freedom that you don’t get in other countries but at the same time we are weigh more isolated so it’s harder to make a living and to get your art and your music out there. The whole Third World experience is something I kind of like.»

    «It’s like a national trauma you know. We are even since children educated to recover that territory like a patriotic duty, a strong patriotic symbol. It’s very offensive to tell the people ‹Nunca Tendremos Mar› – we will never have sea you know.»
    Bernardo Reb Rojas

    «Our way to produce music and albums for the band, well we just do everything ourselves. We get together, we write the music and then when it’s done we find a way to finance, you know through friends chipping in, doing whatever we can to record the album.»

    «There’s a lot of do-it-yourself ethic. With making videos it’s the same you know. I only use tools that I have at hand, that’s why I used footage material.»
    Bernardo Reb Rojas

    «I am graphic designer so usually I do all the graphic arts so we don’t have to spend much there. We make our own CDs, we cut them we fold them, we glue them together, we do everything. In that sense we are totally independant.»

    Read More on Norient

    > Carlos Pérez: «The Creature’s Grip»
    > Javier A. Rodríguez Camacho: «B Movies and Biracial Creatures»
    > Miguel Hilari: «5 Video Clips from Bolivia»

    Two Festivals Fight To Preserve Latin American Music

    Delivered... Interview by Chloé Lula. | Scene | Mon 27 Feb 2017 2:16 pm

    Newly established festivals Comunité in Tulum, Mexico and Manana in Santiago de Cuba, Cuba share a similar mission: to provide musical platforms for their local communities. Their models represent a departure from more traditional electronic music events that often import foreign talent and forgo indigenous musical traditions. We sat down with Juan Del Valle of Comunité and Harry Follett of Manana to talk about the importance of preserving Latin America’s musical heritage, the philosophies governing their respective festivals and the collaborations that they’re planning for the coming year.

    Juan Del Valle: We decided to start Comunité because of our profound love for music and Mexico and because there aren’t any local festivals in the Riviera Maya—the area where you can find Tulum, Playa Del Carmen and Cancún. By “local festivals,” I mean events that are produced by Mexicans and that work alongside local communities. This festival is one of our ways of decolonizing our country and supporting the communities around us. We integrate the area’s culture into the event as much as we can by giving design and construction jobs to indigenous communities, as well as by permitting the sale of local crafts and goods within the event.

    I wanted Comunité take place in Tulum because I’m deeply inspired by the ancient Mayan cultures that used to live here. These civilizations had a great connection with nature, and we try to translate these values into the ethos surrounding the event. Everything used in the festival, like beverage cups and stage designs, are made from compostable materials. This obviously skyrockets the cost of production, but it’s a risk that we’re willing to take in order to make people more conscious of the ecological and cultural richness that the space has to offer. We also try to focus on bringing together different micro scenes and artists from Latin-America that aren’t typically seen in the same place. Over the course of the last two years, we’ve worked with artists from Peru, Argentina, Colombia, Chile and Cuba. These connections that Comunité has to the local community are what makes it such a unique initiative.

    Harry Follett: Manana is similar—it’s really because of the musical richness of Santiago and the people there, like our co-founder Alain Garcia Artola, that this festival exists. I initially went out to Cuba a few years ago with the intention of recording with Alain and studying percussion, but the teachers I had were so open and so interested in helping me get involved in the culture and the musical community there that I ended up staying. This was how the festival was born. After only a couple of months of studying and listening to rumba, the Haitian and Yoruba styles of music found in Santiago, Alain and I kept asking ourselves, “How does this relate to electronic music? How does this relate to electronic artists? How can we make a musical connection here?” This was the most fun part about creating the festival for me, because it meant thinking about how to make a coherent lineup and a party that multiple cross-sections of musicians could enjoy. It’s a real job to be able to create a platform for people from different cultures to share their knowledge and to collaborate together in a meaningful way.

    JDV: Yeah. I also really want to support local artists, but sometimes it’s difficult to grow a scene from scratch and to break with the brand names that are capitalizing off of our country. I used to work in corporate banking for eight years, and I interacted with a lot of oil, construction and mining companies. These imported festivals work in the same way as other big corporate organizations that lack real, non-marketing-focused interactions with local communities and artists. It’s kind of like a blurry smoke screen within the local economy, since in the long run, all of that capital generated leaves a hole in the country’s growth. They’re just soulless entertainment centers. Comunité is a response to this phenomenon. We book Latin American talent and partner with local initiatives to promote the colorful art that we as Latinos have to offer. One of my dreams would be to start making more of an impact on electronic music events by booking Mexican artists at European festivals instead of the inverse.

    HF: Totally. It’s really hard to get a scene going organically—especially in Cuba, where people haven’t had any exposure to electronic music. They think it’s the kind of events you’re talking about, like BPM or parties in Ibiza, where people do drugs and dance in front of a DJ. I wanted Manana to be a collaborative experience that allowed electronic music and local music to meet. We invited some international electronic music artists to come in the month before the festival so that they could meet local musicians, see ceremonies and reggae street parties and immerse themselves in the music so that when they did work with Cuban musicians for the festival, it was a balanced musical exchange. Nicolas Jaar did a great collaboration with some local drummers, for example. Some of these groups have stayed in contact and are continuing to make music—I think about seven in total.

    JDV: I’m really amazed that a festival like yours is happening, Harry. It says a lot about the cultural shift that’s going on in Latin America these days. I immediately fell in love with Manana the moment I saw electronic music mixed with Latin artists. I’m super, super amazed with all of the work you’ve done.

    HF: Well, you helped us a lot in the early stages. You were one of the first people who got in touch, and we hit it off straight away in terms of our taste and our goals to integrate local music with electronic music. It’s because of people like you and the rest of the team at Comunité that we got the contacts we needed in the local music industry. I think you’d agree that the connection between Mexico and Cuba is an important one musically, and it’s good to be able to do something practically to support it.

    JDV: Yeah, there are a lot of genres that people listen to in both countries. The majority of people in Mexico and Cuba listen to salsa, cumbia and rumba. A lot of this music started in Cuba, and from Cuba it branched out into almost a thousand other sub-genres throughout Central and South America. I think what you and I have tried to do is to bridge a cultural divide that’s absent in a lot of European festivals. We’re both really interested in connecting what’s going on at a global level with Latin America’s musical roots.

    HF: And more than its musical roots, its spiritual roots. Cuba in particular has a rich religious history that we’ve tried to integrate into Manana. We really needed to learn the religious aspects of the community in order to understand what’s allowed in performances. You can’t use certain drums in certain spiritual performances, for instance. You can’t change the structure of certain songs. You have to understand the hierarchy of the players. And if you’re visiting people’s houses, you have to understand how their religion works. A lot of the culture there is about respect.

    JDV: With all of this organization and coordination in mind, do you think that you’ll be able to put Manana on again this year?

    HF: We have plans in place for our second festival to take place in February 2018. All of our efforts so far this year have been going into showcasing the best collaborations from Manana 2016 at The Barbican in London, as well as launching Manana Records. Our first release by Santiago’s rumba pioneers Obbatuké just came out, and there will be two pretty incredible collaborative albums out before The Barbican show this May.

    JDV: The Mexican crowd is really interested in Manana, and it would be great to work on doing more co-productions between our festivals, like when Comunité brought Manana artists like DJ Jigüe to play last year. Maybe we can showcase some Latin American artists at Comunité first and then bring them down to Cuba.

    HF: That would be amazing. I think we need to do everything we can to make sure there’s a lot of sharing going on between the electronic scenes in Mexico and Cuba, and to create new musical projects that cut it on a world level. The thing to think about moving forward is that this connection shouldn’t only be about the frequency of how many times we can have Cuban DJs playing in Mexico and how often we can have Mexican DJs coming to Cuba. I think what’s really important is giving local and visiting artists more musical references so that they can really experiment with the sounds, rhythms and melodies of Latin American countries.

    Cover photo of Manana courtesy of Harry Follett.

    The post Two Festivals Fight To Preserve Latin American Music appeared first on Electronic Beats.


    Delivered... Spacelab - Independent Music and Media | Scene | Mon 27 Feb 2017 2:00 pm
    The beautiful thing about Ryan Adams’s music is that it’s a stark reminder that artists do not necessarily have to constantly strive to be innovative at all costs.

    New band of the week: Ménage à Trois (No 141) – lounge funk and synthadelic slow jams

    Delivered... Paul Lester | Scene | Mon 27 Feb 2017 9:00 am

    Mancunian boy band who met at a gay karaoke bar specialise in music that ‘longs for sun and love and good times’

    Hometown: Manchester.

    The lineup: Joseph Louis Harland Manning (instruments), Jonathan Flanders (vocals), Craig Langton (electronics).

    Continue reading...

    Win a 6-Festival Slot in the Untz Producer Challenge

    Delivered... Markkus Rovito | Scene | Mon 27 Feb 2017 5:32 am
    To all electronic music producers finishing up tracks or planning independent releases, you may want to hold off on dropping your best track until The Untz Challenge VIII wraps up on April 3. Two des..

    Money Laundry

    Delivered... Refantho Ramadhan | Scene | Sun 26 Feb 2017 11:00 am

    This photo series tries to give you a sense about how the government in Indonesia is massively corrupt, as well as an idea of what caused the current state of the economy. A photo series by Refantho Ramadhan. From the Norient book and exposition Seismographic Sounds (see and order here).

    Laundering money is the process of transforming most of the proceeds from crime into ostensibly legitimate money or other assets. In these photos the Indonesian heavy metal band Burgerkill satirizes the rampant corruption in their country and the men that perpetuate it. I included a little joke: just imagine if the stupid corruptors really laundered their money in a washing machine!

    Ramdan, Burgerkill

    Andris, Burgerkill

    Vicky, Burgerkill

    Agung, Burgerkill

    Ebenz, Burgerkill


    Agung, Burgerkill

    This photo series is part of the Norient exhibition Seismographic Sounds and was published first in the correspondent Norient book. Click on the image to know more.

    Dispersion makes it crazy easy to get that bouncing ball delay sound

    Delivered... Peter Kirn | Scene | Fri 24 Feb 2017 7:21 pm

    You know the sound. Bah bah bahb bh bh bhbhbbbbdddd… And you’ve heard in … some track. Somewhere. Okay, you know, words really aren’t the greatest thing for describing particular audio effects. So just listen:

    The “bouncing ball” delay is just one of the sounds available in Dispersion, a new thirty-dollar audio effect plug-in for the Mac. You get organic sounding delays that are all synced together to match a groove. That gives you tight choruses and stereo widening, nice crunchy-grainy delays, and other shuffles and diffusion and, you know, delay sounds. It’s an especially nice combination of very useful delays, in a compact package.

    Because this is Sinevibes, you can also assume a Mac-centric design sensibility and brightly-colored, simple, visual interface and animations – whether you have a lower-res display or nice new Retina screen.

    But don’t let that simplicity fool you. You can program up to 16 delay lines, all with this special “time spread” formula, plus damping at the low and high end, variable feedback (gradual or stepped), and modulation.

    Good stuff. My go-to delay these days has become Replika XT from Native Instruments, just because it has just about every delay mode I can imagine – but this has its own unique sound and might break me out of Replika a bit! Congrats to Artemiy Pavlov for another instant classic. Check it out:



    The post Dispersion makes it crazy easy to get that bouncing ball delay sound appeared first on CDM Create Digital Music.

    FCC Approves For the First Time 100% Foreign Ownership of US Broadcast Stations

    Delivered... David Oxenford | Scene | Fri 24 Feb 2017 5:31 pm

    The FCC yesterday released its first decision approving 100% foreign ownership of a group of US broadcast stations. This comes after significant relaxation of the FCC’s interpretation of the foreign ownership limits which, less than 4 years ago, had been interpreted to effectively prohibit foreign ownership of more than 25% of a company controlling broadcast licensees (see our article here about the 2013 decision to relax the restrictive policy). In yesterday’s decision, the FCC approved the application of an LLC controlled 100% by a husband and wife, both Australian citizens, to acquire complete control over several companies that are the licensees of 7 AMs, 8 FMs, 13 FM translators, and 1 TV translator in Alaska and Texarkana, Arkansas and Texas. The FCC’s approval requires that these individuals get FCC approval if any other foreign owners are added to their company, but otherwise imposes no other significant conditions on this acquisition. Given the simple 50/50 ownership of a husband and wife in a closely held company, the ownership reporting and analysis conditions imposed on public companies who have been allowed to exceed the 25% threshold in the past (see our article here and here) were not required in this case.

    What is perhaps most interesting is just how routine this process has now become. Very recently, the FCC approved investment by a Cayman Islands based fund of more than 5%, up to 49%, of the ownership in Pandora (which owns a company that holds a radio station). These approvals come on top of several other acquisitions by foreign investors of non-controlling interests in broadcast licensees. As long as these owners are approved by various US government agencies as not presenting security risks, the approvals don’t seem to be an FCC issue. The FCC noted in yesterday’s order that allowing this kind of foreign ownership brings new sources of capital into the US broadcasting industry, and may encourage other countries to relax their ownership rules to allow investment by US companies in broadcast companies serving other countries. What a difference a few years can make!

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