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

The new MPCs in videos, including how those new clips work

Delivered... Peter Kirn | Clips,Scene | Mon 9 Jan 2017 6:03 pm

Following Akai’s announcement of the new standalone MPC models – MPC X and MPC Live – they’ve also released some videos.

Sound on Sound has a walkthrough:

And there’s the requisite promo film from Akai:

It’s important to note that adding standalone mode here doesn’t mean taking away anything from the computer/hardware combo. The software on the standalone MPCs is identical to what was previously available via the controller — even besting it, thanks to the MPC 2.0 software launch. Plugged into your computer, you get all the advantages you’re used to. You can add plug-ins, control MIDI on the device over USB, and drag and drop materials back to your DAW. But untethered, you can work without a computer – which also means less complexity and stability hassles in live setups.

People evidently thought I was suggesting tossing your laptop in a bin. Far from it: I think the real story here is that your computer does what it’s best at (like hosting plug-ins, handling arrangement duties, and showing things on a big display), while avoiding the situation where it can become awkward (certain live setups, or on the go, or when you want to focus on a music workflow without distractions).

The other interesting story here is the new approach to clip launching in the MPC 2.0 software. Despite the comparisons to Ableton Live, it’d be a stretch to imagine this as a real Ableton alternative – Ableton Live’s software is a complete DAW built around the clip model.

That said, I can imagine a big use case of people who have gotten used to pattern launching because Ableton is their main DAW, finding this comfortable when they’re playing onstage.

Frankly, there are also plenty of producers and DJs I know who avoid live sets because they haven’t had a rig they felt comfortable with. Setting up Ableton as their live gig tool might be daunting.

Reaching another use case, there are MPC users who are comfortable with that tool for production, and even are happy to use it for end-to-end track creation. Those folks are likely to be excited about the ability to use Audio Tracks. Now, if you do all your vocals and arrangement in Cubase, I don’t know that this is really for you. But for the drum machine-focused workflow, where someone just wants to add some vocals and do all the rest of their song writing on the MPC, this could fit.

For their part, Native Instruments are also adjusting their approach to arrangement workflows on Maschine; I’ll cover that in a separate story.

Akai are also meeting artists in a series called “standalone challenge” – one clearly geared at the US market, with some Grammy-winning legends:

The post The new MPCs in videos, including how those new clips work appeared first on CDM Create Digital Music.

Someone recorded an Ableton tech support prank call

Delivered... Peter Kirn | Artists,Clips,Scene | Fri 20 May 2016 11:18 am

Okay, obvious disclaimer. Please do not prank call Ableton tech support. They’re busy, hard-working people. But … this is hilarious (as is the fact that it’s labeled as a tech support call “from Berghain”). A custom-built Launchpad and Live hacked to run inside Linux? Going with the flow and working the audience when a glitching Live set randomly launches clips? At least this scenario sounds like a plausible one involving a regular CDM reader. Listen:

You can download this, too, so fiction can become reality when you drop this track in your next set. I’d love to hear this on the FUNKTION-ONE, if you’re listening, cough, Marcel and Ben. Think about it.

CDM needs a morning zoo broadcast. We could do this all the time. (Meanwhile, I marvel yet again at the brilliance of SoundCloud’s related tracks algorithm. Start listening and you’ll find some awesome things happening.)

Confirmed: we have a source that tells us this call was real, and that really is an Ableton employee on the other line, to which we say – and we can’t say this enough – please don’t ever do this! Uh… but we are still laughing.

The post Someone recorded an Ableton tech support prank call appeared first on cdm createdigitalmusic.

A different breed of analog sound library for Ableton Live

Delivered... Peter Kirn | Clips,Scene | Fri 18 Mar 2016 6:36 pm

Soundware is everywhere, from endless catalogs of loops to yet another pack of sampled vintage instruments. But apart from questionable quality as the market grows crowded, the other simple question is, just how should these packs be assembled?

SympleSound is what happens when a sound designer decides to treat the sound pack like an instrument unto itself – not just content, but a set of tools.

If you’re using something other than Ableton Live, you can stop reading here – SympleSound isn’t for you. Everything about this approach is tailored to natively designing the sounds for Ableton as a host, from Push controlled support to the use of clips.

But if you are using Ableton Live, what you get is a combination of really good sound content under the hood with lots of control wrapped round the outside.

It can be a nice set of bass sounds, if that’s what you want. But it can also be a course in synthesizer history and sound design, or a set of instrumental blocks.

Fundamentally, the reason this matters is this: to the extent that a sample library is a recording of an instrument, anyone can get quality right. Get more samples, at longer length, at a higher resolution, through a reasonable neutral signal chain, and you’ll wind up with something that accurately reproduces the instrument. Happily, at the same time laptops’ internal hard drives have shrunk to anemic levels, external drives have gotten bigger and cheaper, so that’s no issue.

And, to be sure, SympleSound’s first analog outing excels at these characteristics. You never touch a sound sample that’s more than a semitone transposed (across an enormous five-octave range), you get an obscene 10-second minimum for sample length for all non-percussive samples, and you get sounds recorded at 44.1kHz/24-bit. There are even some carefully captured subtle oscillator drift and tuning idiosyncrasies included.


On some level, though, this is more administration than art. The art comes in what you design around those sounds in the way of control. And that explains why SympleSound has chosen exclusively Ableton Live 9.5 and later as its target – even if that’s maddening if you happen to use something else. This a library tailor-designed so that when you open it, you have access to the brain of the person who captured the instruments as much as the sounds.

The brain in this case is one Francis Prève, the Keyboard magazine veteran who has one of the longest synthesizer sound design and documentation resumes I know in the entire industry – one that reaches from Roland to Ableton, Auxy to Korg. I’ve known Francis for a long time, and few people are as obsessive about synths on Earth as him. He has, frankly, the kind of hyperactive attention to detail required to be crazy enough to undertake something like this. That’s not to say he’s unmoored from the realities of making successful music, either – he’s worked with the likes of Wolfgang Gartner, Gabriel & Dresden, and Aquaviva/Giacomotto, and he knows what to do with a dancefloor. You can read this on his resume, but it matters; this is the weird combination our industry requires – to be equally at home in some sort of compulsive nerd environment as at a club, able to be rational and productive in each.

So, here’s what you get with SympleSounds that you don’t get from other sample libraries. It seems obvious and, as Apple loves to say, “inevitable,” but it’s actually special:

The loops are free. Instead of just making you listen to sound samples (included here), you get 30 royalty-free analog loops for free as the try-before-you-buy business. If you like them, the bet is that you’ll purchase the fully featured packs – and the subtle hint here is that this is a sound library that’s more than just inert loops.

At launch, you get loads of analog staples. Vintage classics: Oberheim SEM, Roland SH-101. More contemporary analog hits: DSI Prophet 08, Doepfer Dark Energy, Moog Little Phatty.

Everything is polyphonic. There; you’ve just transformed decades of monophonic instruments into something you can use polyphonically (without, like, overdubbing some SH-101).


Everything is a rack. The problem with sampled libraries is, all too frequently, they’re fairly inflexible. So they’ll sound good if you stay within a limited range, but you can’t mold them in the way that you would the actual instrument. Building on those aforementioned enormous audio sample libraries, though, SympleSound is different: carefully mapped controls on the Device Rack for each instrument mean you have all the control you might want. Francis has been doing this in Ableton sound designs more or less since the functionality was introduced, so you can bet those mappings will be flawless.


Everything maps to Ableton Push. That Device Rack matters for this reason, too – hands-on control via the Push encoders is always at hand. (SympleSound mostly talk about Push, but this will also be true of other controllers, iPads, whatever.)


Clip envelopes will change how you work. Here’s the big one, and it’d be easy to miss. Every single instrument here has associated clips, those clips contain clip envelopes, and those envelopes demonstrate the sonic characteristics of each preset. Now, this is important for two reasons. One, because Ableton Live goes to those clips when auditioning sounds, it means you get a proper preview before you dump a bunch of big files on your local hard drive. Two, you can use these envelopes to discover sonic possibilities of each preset, or even work them gradually into a project. Each sound has an associated musical material attached to it, so it isn’t just a sound.

The upshot of all of this is that you get a library you can rely on to faithfully reproduce all these instruments, but also one you can bend to new musical applications and designs. You can access the sounds you need, but you can also dig deeper and discover what made them work in the first place. It’s, finally, a sample pack for sound designers and producers – a sound pack that might even impress sound pack makers.

And that’s a very good thing. This is just the beginning, Francis tells us – more instruments are coming.

Francis is in his home of Austin, Texas today, talking Link and Push and sampling and this launch at South by Southwest. But we can have a go with these sounds anywhere in the world – and if you like them, grab a sound pack for fifteen bucks each.


If you use them, let us know how it works and what you make.

The post A different breed of analog sound library for Ableton Live appeared first on cdm createdigitalmusic.

Get Your Ableton Grids in Order, Free, with Launchsync

Delivered... Peter Kirn | Clips,Scene | Wed 5 Nov 2014 1:01 pm


In live electronic music, the endless free expanse of the computer screen tends to run up against the limited ability of your brain to tell just which freakin’ track am I on, anyway? In the studio, it can be annoying. Live onstage, it can be train wreck-inducing.

Ableton Live’s Session View has for years exacerbated this problem. You can limit your options to eight (or even four) tracks. But that doesn’t always work. You might need more than eight tracks for particular routings of audio or MIDI. And unless you use Device Racks and chains, you’ll also need extra tracks to switch instruments.

Launchsync is a solution to that problem. Instead of all of your controllers going their own way and controlling different parts of Live separately, they can now move in tandem. So, rather than doing scrolling on multiple devices and squinting at the screen to see where the heck you are, you can navigate on one controller and everything else follows.

Use cases:
1. One Ring to Rule Them All. Have every grid controller assigned to the same block of clips, and move around together (one clip at a time, or “paging” in bigger groups).
2. A Wider or Taller Grid. Make a bigger grid. For instance, a Push and a Launchpad, or two Launchpads could be next to one another, moving together – 16×8 or 8×16 or whatever you like.
3. Faders Synced with a Grid. Get your faders following your grid. I love Push, but I’ve hesitated to use it live because I can’t easily mix on it. Now, I can have my LaunchControl XL follow the launch grid of the Push.

It’s free, but requires Max for Live (included in Ableton Live Suite 9). I’ll say this, though, now with confidence – if you’re serious about using Live, just get Suite (or a discounted version of Max). Seriously. I haven’t talked to one person who regrets that. They’re getting it to use tools like this, even if they’re not patchers.

Compatible hardware:
Ableton Push
Akai APC40 (not sure yet about the mk2 series)
Allen and Heath K2 (via the additional Isotonik2
Novation Launchpad, LaunchKey, and LaunchControl (all models)
Livid Instruments Base (all models)

I’d love to see this work with tools like iPad controllers, too, so I’ve put touchAble in contact with Darren, the developer at Isotonik. We’ll let you know if they make it work!

Watch the video to make this clearer:

Thanks to the terrific Ableton Live Expert for this coverage and the video (I have to start reading your site more often)!
EXCLUSIVE to Ableton Live Expert – Free Novation Launchsync Max for Live plugin!

The original, here with hilarious wooden side panels. Photo (CC-BY) Paul.

The original, here with hilarious wooden side panels. Photo (CC-BY) Paul.

The Ring

I’ll back up for a bit of history. When Ableton and Akai announced the APC40 at the beginning of 2009, they added a red rectangle on the screen that gave you feedback on what it was controlling onscreen, allowing you to map its eight controller strips and grid of clip launchers to more than eight tracks. That box is technically called the Ring Focus Box (though I haven’t heard the name used much outside Ableton).

By fall 2009, Ableton and Novation added the Launchpad to the offerings. Immediately, they added the ability to have more than one Ring Focus Box, in different colors. That way, you could control more clips with additional connected controllers. Compatibility with the Ring Focus Box is dependent on installed scripts, and you need a particular manufacturer partnership with Ableton in order for Ableton to provide support for adding it, though various hardware and software have hacked their own compatibility. (It’s even possible to use simple user scripts to add your own.)

What’s nice about Launchsync is, by better controlling where that focus ring is, you may not need to look at the computer screen at all. You can instead rely on one piece of hardware for feedback or (soon, hopefully) an iPad visualization of clips. That’s better than a dinky colored rectangle on your laptop screen, anyway.

The importance of this feature means that I hope Ableton addresses the API for all hardware and control software (iOS, Android) in a consistent way for upcoming versions. Doing so would better standardize control support across the range of tablets and faderboxes and knobboxes and custom-built gear and whatnot that Live users now use.

For now, though, you have a very workable solution for a range of hardware. And it’s another reason I’m keeping my LaunchControl XL around. It may have been designed as the faders missing on the Launchpad – but it’s the faders missing on the Push, too.




Follow up to yesterday’s review:
Novation’s LaunchControl XL Has the Faders and Knobs You Need for Ableton, MIDI [Obsessive Review]

The post Get Your Ableton Grids in Order, Free, with Launchsync appeared first on Create Digital Music.

Control, Shortcuts for Ableton Starting at $99: A Look at the New AKAI APC Line

Delivered... Peter Kirn | Clips,Scene | Sun 23 Mar 2014 9:01 pm
Keyboard and controls and triggers all in one tiny bus-powered unit for just over $100 street. The APC this year also goes tiny.

Keyboard and controls and triggers all in one tiny bus-powered unit for just over $100 street. The APC this year also goes tiny.

For any tool that has “live” in the name, physical control will be important. And so even with a broad market for controllers targeting Ableton’s flagship software, now including the slick Push hardware from Ableton themselves, AKAI’s re-vamped APC line earned intense interest when it debuted at Musikmesse this month.

Let’s make sense of what the new APCs can do and how you might choose between models. I got some hands-on time at Messe, and now even in advance of a review of finished, shipping hardware, it’s worth teasing out the breakdown of the 2014 APC line.

The original Akai APC, short for Ableton Performance Controller (despite obvious, intentional similarity to “MPC”), came out in 2009. Then, there was just one model, the APC40, later seeing a companion, cut-down APC20.

Now, there are three distinct models:

APC MINI. US$99 street. This is a serious challenger to the currently popular entry-level favorite, the Novation Launchpad. In addition to a Launchpad-style 8×8 grid with three-color feedback, you get the faders (8 channel + 1 master) the Launchpad is missing.

APC Key 25. $129 street. Basically, imagine a tiny Ableton control surface squeezed into AKAI’s mini-keyboard: clip matrix plus 8 controller knobs.

APC40 mkII. $399. You get the triggers and faders as on the MINI, but also a crossfader, dedicated mix controls, and, crucially, Device controls.

The ultra-portable MINI, now with faders. (And I have fairly small hands.)

The ultra-portable MINI, now with faders. (And I have fairly small hands.)

There are a number of features these units have in common.

They’re USB bus-powered. You don’t need a power supply as on the original APC – a big leap forward in convenience.

They don’t require drivers. Hackers, that means you could make these controllers for other software, like Renoise, Bitwig Studio, Reaper, or your custom SuperCollider rig.

There’s a bunch of great software included. AIR Music Tech is one of the most exceptional plug-in developers around. Unfortunately, while Avid Pro Tools users know their wares fairly well, they’re less known among other users. This could change that: the lovely Hybrid 3 instrument is included in the box even on the APC MINI and APC Key 25 – which for me means it’s going to be hard not justifying buying at least one of those. The crazy-cool SONiVOX Twist morphing synth is included on the APC Key 25 and APC40 mk II. And, okay, sample packs and Live Lite – but getting one or two great synths is what’s likely to sweeten the pot for readers here.

You have a ridiculous number of shortcuts. This is a bit unclear just looking at the units and press materials, but there are triggers that let you access mix values, panning, and sends. In fact, repeatedly triggering the send key lets you control sends for any track, and toggle through as many sends as you’ve gotten. (On the mkII, there are dedicated send triggers up to 8, which is about as many as I’ve seen anyone use who isn’t named Richie Hawtin.) Even on the tiniest APCs, you can control nearly anything; on the mkII, you can do so with more dedicated controls and a mixer-style layout.

You have to get the hang of the SHIFT key and triggers, but once you do, you’ll find dedicated controls for:

  • Clip stop
  • Track controls: select, mute, solo, record arm
  • Knob controls: Volume, Pan, Send (any send, as I said), and Device
  • Transport controls (minus the APC MINI)

And you get those on the entire line. So, you’d absolute need them on bigger controllers, yes, but seeing them in a little tiny keyboard is really nice. Mobile musicians I think will really like this.

Specialized trigger shortcuts can map a variety of parameters to the onboard controls, across the whole APC line. This is the Keys 25 close up.

Specialized trigger shortcuts can map a variety of parameters to the onboard controls, across the whole APC line. This is the Keys 25 close up.

The APC40 mkII could turn out to be the most logical, dedicated mix controller for Ableton yet. There are more generic controllers on the market – the upcoming Dubspot – Livid collab is one to watch. And the APC40 is definitely set up with Ableton in mind. But it is as such terrifically logical when it comes to accessing mix controls – in stark contrast to Ableton’s Push.

In fact, Push and the APC40 mkII would make a nice pair. Push focuses on creative tasks and starting tracks, step sequencing, instrumental playback, and parameter control. The APC40 mkII focuses on traditional mixing tasks: you get conventional channel strips, a crossfader, shortcuts for assigning tracks to the different crossfader buses, mix parameter controls, and a separate Device control section.

The Device controllers were one of the best features of the original APC. What’s nice on this year’s model is that the layout finally looks like a conventional mixer, with parameters right by the faders.

Processed with VSCOcam with c2 preset


The APC40 mkII now really looks like the mixer strips in Ableton's Session View. Knobs are at the top, and can be mapped to pan or sends. And note the dedicated A and B buttons for assigning tracks quickly to the crossfader. That could make the APC40 mkII a preferred controller for live/DJ use.

The APC40 mkII now really looks like the mixer strips in Ableton’s Session View. Knobs are at the top, and can be mapped to pan or sends. And note the dedicated A and B buttons for assigning tracks quickly to the crossfader. That could make the APC40 mkII a preferred controller for live/DJ use.

These aren’t instrumental controllers. Readers were asking if the pads meant velocity control. They don’t. Oh, and here’s another confusing thing about the lineup from InMusic (Akai/Alesis/Numark/M-Audio etc.) in 2014. Previously, “AKAI” products came with MPC-style, velocity-sensing pads, which made sense – the MPC was always an AKAI product. Now, Alesis keyboards have the 4×4 MPC pads with velocity, and AKAI is putting Ableton controllers on a keyboard without velocity.

The APC40 mkII is no Push. In feel and looks, the APC40 mkII feels has none of the luxurious fit and finish of Push, either. Now, what that means for actual, real-world ruggedness is impossible to say, but the user experience is certainly of a less-expensive product.


Processed with VSCOcam with c2 preset

First impression?

It’s pretty clear the entry-level models are a no-brainer if you need something ultra-portable. The APC Key 25 is surprisingly capable, with 8 controller knobs and a trigger matrix. The APC MINI does what many Novation Launchpad owners wished that control surface did: it adds faders. (Novation’s Launch Control add-on, actually, could be a nice combo with the APC MINI: the APC MINI’s faders work for mixing while the Launch Control could have dedicated Device controllers. It seems, somehow, Laptop Battle worthy.)

The APC40 mkII is in a trickier spot. At $400, you’re approaching the price of the Ableton Push, plus some very beautifully-made offerings from the likes of Livid Instruments and Faderfox. And my concern is that the APC40 mkII feels a little too much like its cheaper counterparts.

In contrast to the firm triggers on the original APC, the model on the Messe show floor has squishy-feeling pads. Since those pads aren’t velocity-sensitive, I would have happily had something firmer. The faders also feel pretty basic in comparison to some rival pieces at the same price. And it’s worth comparing the APC40 mkII to Push, because Push even gives AKAI an engineering credit on the box. I wish some of that aesthetic and feel had rubbed off on AKAI’s line.

That said, the APC40 mkII has a serious edge in terms of layout and controls for a lot of applications. The A/B assignment and crossfader alone will win over some users. And all around, it’s a logical counterpart to Push’s focus on instrumental playing. If what you want from a Live controller is clip triggering, mixing, faders, and parameter control, any one of the APCs here can quickly become the hardware to beat. And on the mkII APC40, you do get a logical evolution of the functionality and control of the breakout-hit original.

So, I look forward to testing the final units. We’ve got some time: AKAI says they expect to be done around summertime. And that will be the time to really test the feel and durability of the gear.

All of this is to say nothing of the M-Audio Trigger Finger Pro, also from InMusic. I was pleasantly surprised by the step sequencing functionality of that, particularly in standalone mode – more on that soon.

2014 should be a good year for controllers. I hope we see more of the usual DIY and creative applications, too, of course, not just what’s at the trade shows. Stay tuned, as always.





The post Control, Shortcuts for Ableton Starting at $99: A Look at the New AKAI APC Line appeared first on Create Digital Music.

IE-m’s Video of the Month (11/2012): ATOMIC CAFE (Part 1) – B.R.E.E.D

Delivered... IE-mAdmin | Clips,IEm News | Sun 4 Nov 2012 5:39 am

Congrats to Raffael K., Sachin P. and B.R.E.E.D (Ritesh D’Souza former DJ Nasha)

Directed by: Raffael Kably (Mumbai, BangBang Films) & Sachin S. Pillai (Mumbai)
Editing: editing by Sachin S. Pillai.

B.R.E.E.D’s new Album “Atomic Cafe (part 1)” out on Jack Knife Records (UK)
with remixes from Calvertron and Will Bailey.

Also featured on Ministry of Sound’s Jaguar Skillz Mix Tape.



Sand Dunes – Osmani Soundz & Nuphlo (Members of the Nasha Experience) | IE-m’s Video of the Month (06/2012)

Delivered... IE-mAdmin | Clips | Fri 1 Jun 2012 11:57 am

Congrats to Osmani Soundz & Nuphlo
for the “Video of the Month” in June 2012…

The video was edited by ApurvA (DJ Apurva Chavda)

(Video content is owned or licensed by BBC Motion Gallery (MVR), no copyright infringement intended.)

Track 2: Sand Dunes – EP 7th Day (2012) – Swedish Music Label: Meerkat Recordings

Buy it from “Believe Digital

Osmani Soundz & Nuphlo (Members of the Nasha Experience).


Video editing:

The Bant Singh Project: Modern Dayz Slavery by Udyan Sagar aka Nucleya (Word, Sound and Power (Film Docu)) | IE-m’s Video of the Month (03/2012)

Delivered... IE-mAdmin | Clips | Mon 5 Mar 2012 6:03 pm
congrats to Bant Singh (vocalist), Dehli Sultanate (Taru Dalmia) and Chris McGuinness (producer)

The Bant Singh Project – Word, Sound and Power (Film Docu)

Everyday, we read new reports of scams operating at the highest levels of government that run into thousands of crores while multitudes are left to hustle for the very basics of life — food, clothes and shelter. While Delhi Sultanate (Taru Dalmia) verse speaks of the sorrow of a state waging war against its own people and names some of the many politicians with ‘Swiss bank’ accounts, Comrade Bant warns of a time when injustice has crossed the critical threshold and the people have united and risen up in anger — “Those who (Government) made false promises are now trembling / The will to tell the truth has awakened across the nation.”

As we speak, in many parts of the country people have risen up in arms and in most cases the state has responded with yet more violence while root causes remain unaddressed. Time and time again, peaceful protests such as Irom Sharmila’s ten year hunger fast, fall on deaf ears and receive little media attention, while violent uprisings grab the headlines.

Modern Dayz Slavery” is presented by Udyan Sagar (aka Nukleya)

New Delhi bass champion Nucleya delivers a slickly produced Mumbahton banger. Bant Singh’s voice is harmonized, used as a lead, and transformed into an air horn above window rattling bass and a hard hitting dancefloor drums.

Nucleya is founded by Udyan Sagar, who started his musical journey towards the end of 1990’s when he co-founded Bandish Projekt. Since then, he has released 14 Singles, two studio album including Bhor and numerous collaborations. There are 4 more international releases lined up for this year. Nucleya has frequently made it on the playlists of BBC Radio 1 — UK and numerous other radio stations around the world. He has performed at numerous prestigious festivals and events around the world, like Glastonbury — UK, Edinburgh Fringe Festival — UK, Lille 3000 France etc.

He is currently based in Delhi, India and is very happy about the response he received for his album with HMV India. The album consists of bass heavy mash-ups of old Bollywood tracks, with collaborations featuring artists like Piyush Bhatnagar (Ex- Deaf Bass Twins from India) and MC JD from Canada and Shivang Patel from Ahmedabad.

Over past many years, Nucleya has also composed and produced music for films. He has produced original sound tracks and background scores for feature films like “Dubai Return”, short animations, as well as ad films. He has worked with brands like Tata and presently designing a background score for an animation film by a student of National Institute of Design, India.

Website: www.wordsoundpower.org

Najma Akthar: Miskatonic (CD: ViviD) | IE-m’s Video of the Month (02/2012)

Delivered... IE-mAdmin | Clips | Mon 6 Feb 2012 9:25 am


… taken from Najma’s album “ViviD” (Indian Gothic genre). Please visit www.najmaakhtar.com for more info on Najma Akhtar’s releases, reviews…

Najma Akhtar @ Facebook here

Gods Robots: STAY | IE-m’s Video of the Month (01/2012)

Delivered... IE-mAdmin | Clips | Sun 1 Jan 2012 1:26 am

Congrats to …
Blinking Peacock Productions Inc. / Janaka Selekta + Shridevi Keshavan (aka Taamara))

Download your cost free copy of the EP album “Gods Robots – Stormy Weather” from here

Production Company: Blinking Peacock Productions Inc.
Postproduction: Magui Studios

Director: Loris Lai
Producer: Manav Wadhwa
Conceptualized by: Matthew Emery, Loris Lai, Manav Wadhwa
Editor: Andrea Maguolo

Director of Photography (Los Angeles): Martim Vian
Directory of Photography (India): Shweta Chanda
Dailies Editor (India): Siddharth Chanda

DIT: Dan Blanchett
1st AC: Nádia Baptista

Production Designer: Carlos Fernandez
Art Director: Emily Kwong
Planet Painter: Todd Noel

Costume Designer: Ambre Wrigley
Costumer: Erin Muhs

Key Makeup: Melissa Walsh
Key Hair: Anh Cotran
Assistant Hair: Evan Anthony

Gaffer: Christ Ernst
Key Grip: Meena Singh

Set Photographers: Ricardo Korda & Brett Comden

Production Assistants: Marlina Haley & Shawn Smithson

Jewelry & Costume design from NN by NGHI

Visual Art by eio (note that e is lowercase here deliberately)

The Cast:

Voodoo Woman: Rebecca Reid
Young Boy: Cyrus Handrinos
Old Man: David Pantsari
Pregnant Woman: Esther Canata

Ranvir Bassi – From Bosnia (EP): | IE-m’s Video of the month (11/2011)

Delivered... IE-mAdmin | Clips | Tue 1 Nov 2011 8:51 pm

Congrats for this minimalistic clip…

Track: Jolene – EP: From Bosnia (2011) by Ranvir Bassi (covering Dolly Parton)

… on VHS cassette tape

Ranvir Bassi about his VHS video project: “Of course it’ll be easier to make DVDs but what would be the fun in that? The music videos are real abstract affairs and they belong on VHS and not Youtube. Some of you may like owning them on a VHS edition of From Bosnia. People would call the videos lo-fi, but when you sculpt them to such a degree that there is immense detail exactly as you want it, it is in a certain way full of interesting, unique and subtle fidelity.

The Release date for the VHS: December 1st 2011 (Order package here)

From Bosnia (EP) is available as a free download from Bandcamp.com

Ranvir Bassi @ Facebook

Official Website

album name

From Bosnia

band name

by Ranvir Bassi

  • Digital Album

    Immediate download of 3-track album in your choice of MP3 320, FLAC, or just about any other format you could possibly desire.

    Spent an evening covering some of my favourite songs. I made them quickly and never expected to share them. The sound is fairly lo-fi and fairly minimal I’d say.

    Free Download

  • VHS cassette tape

    Ofcourse it’ll be easier to make DVDs but what would be the fun in that? The music videos are real abstract affairs and they belong on VHS and not Youtube. Some of you may like owning them on a VHS edition of From Bosnia. People would call the videos lo-fi, but when you sculpt them to such a degree that there is immense detail exactly as you want it, it is in a certain way full of interesting, unique and subtle fidelity. Release date for the VHS is December 1st, but if you order soon, I will try send them out sooner (if you prefer).

Anuj Rastogi: DEAR LONDON – As I watch this City burn (2011 London Riots Spoken Word) | IE-m’s Video of the month (10/2011)

Delivered... IE-mAdmin | Clips | Sat 1 Oct 2011 12:29 am

Indian E-music gives congrats to Anuj Rastogi…

Anuj about his video art:

“For the last few days London has been under siege from within with senseless violence and rioting. I saw the video of a young kid getting helped up by rioters, only to get robbed seconds later by the same thugs – and this set me off. While the riots have since spread to Birmingham, Manchester and elsewhere, I could only voice my frustration through the spoken word.”

Anuj Rastogi’s Website:- http://www.omnesia.com

@ MySpace – http://www.myspace.com/omnesiarecords

@ Facebook – http://www.facebook.com/omnesia

SANATHANA : Deep Throttle (Progressive Psy) | IE-m’s Video of the month (09/2011)

Delivered... IE-mAdmin | Clips | Thu 1 Sep 2011 3:11 pm

Congrats by Indian E-music to Sanathana for the Video of the month (Sept 2011)

psy tune “Deep Throttle” (Psychedelic + Trance music)

written & produced by SANATHANA – Swaroop Guhathakurta http://www.sgdesigns.co.uk

SANATHANA is DJ, graphic designer/artist, video artist, producing all styles of psytrance…

Reach You – Engine-EarZ Experiment & Lena Cullen | IE-m’s Video of the month (08/2011)

Delivered... IE-mAdmin | Clips,IEm News | Mon 1 Aug 2011 8:25 am

Indian E-music congrats to Lena Cullen (vocal), Engine-EarZ Experiment & Base Films…

Engine-Earz Experiment‘s first (official) music video and the 1st single from the debut album “Symbol”…
music: “Reach You” ft. Lena Cullen (vocal)

production: shooting & editing by Base Films (editor: Matt Tatem)

Desert Angel – Ma Faiza & Veet Sandeh | IE-m’s Video of the month (07/2011)

Delivered... IE-mAdmin | Clips,IEm News | Fri 1 Jul 2011 9:14 pm

Indian E-music congrats to Lightmotiv, Ma Faiza & Veet S.

made by www.lightmotiv.de
with track “Desert Angel” by Ma Faiza & Veet Sandeh

from the album:  “LIQUID DREAMS
released by MASTI MUSIC (India)

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