Conversations and an overflow of music, streaming from Ableton Loop

Don’t have a ticket to Ableton’s Loop “summit for music makers” in Los Angeles? There’s an overabundance of music and conversation from the gathered artists streaming, much of it live, available now.

It’s easy to imagine Loop as turning into something really focused on the particular software and hardware products from Ableton, but the people programming the event have made it something very different. Loop’s programming itself extends through a range of artistic and technological frontiers, many of them only tangentially related to Live or Push – everything from AI to electronic instrument engineering to sonifying data from space. Most of that does require a ticket – which means you need to be in Los Angeles right now, and tickets were in short supply. (Even for ticket holders, capacities are constrained as workshops and seminars often take place in small quarters.)

What you can get access to is a couple of the mainstage talks, and a whole bunch of the music culture around Loop. That says a lot about the kind of artists Ableton has befriended, and the sort of hub Los Angeles can be for musicians. So Dublab Radio are broadcasting, for instance – and they’ve made Loop their home.

We’ll be talking to artists, too, in our own way – stay tuned for that. But meanwhile, part of what I get is that there’s a ton of music to experience. It’s not just one genre, and it’s also not just about the people Loop programmers thought were important. If music production tools are driven by an urge to create and share, then it’s little wonder that the participants here have self-organized their own collaborative playlist to share what they’re doing.

So let’s listen. Here’s your guide:

Loop has their live streaming schedule online, with events starting mainly 2PM (5PM NYC, 11PM Berlin) daily, earlier on Saturday:
https://loop.ableton.com/2018/streaming-schedule/

Timing on the West Coast of the USA tends to run a little late even in the Americas, and winds up at weird hours for Europe/Africa and the Eastern Hemisphere. But here you go — think afternoon – early evening LA time Friday and Saturday and afternoon Sunday. That means evening east coast USA, early morning Japan, and … Europe you might want to wait for the archive unless you’re a night owl.

Highlights for me include Sunday – Damien Licht has been doing some great productions and has a new album, and shesaid.so, Naomi Mitchell & Coco Solid should be terrific as they’re bringing in loads of new and diverse music interests and community activation. Plus Dennis DeSantis, Laura Escudé, Patrice Rushen, Photay talking Saturday about what happens when plans go awry – well, that’s relevant to all of us, and this is an utterly amazing selection of different life experiences professionally. We all talk about the Instagram-friendly perfect side of our creative lives, and very rarely about the failures – even if adjusting to failures is usually where the good stuff happens.

Plus there are live performances in the evening if you can catch them.

Music you can tune in any time, though, via Spotify.

What’s great is the chance for participants to share with one another:

And Dublab would love to welcome you to LA’s extraordinarily dynamic scene:

For more sounds – including the lineup at Loop and a guide to why the venue EastWest Studios has put out music you already know and love:

https://loop.ableton.com/2018/loop-spotify/

And if you are at Loop, see you here:

Touch, Code, Play: creating hybrid physical-digital music instruments

The post Conversations and an overflow of music, streaming from Ableton Loop appeared first on CDM Create Digital Music.

Streaming music is coming to DJ software, but one step at a time

Streaming is coming to DJing. Last week saw new announcements from Tidal, SoundCloud, Serato, and several other software makers. But progress is uneven – expect these features at first to be primarily about discovery, not what you do at a gig.

The news this week:

SoundCloud announced coming support in Traktor, Serato, Virtual DJ, Mixvibes, and more:
Just announced: Soon you can access SoundCloud’s catalog of music directly through your DJ software [SoundCloud blog]

Serato announced support for SoundCloud Go+ and TIDAL premium and HiFi subscriptions in forthcoming DJ Lite and DJ Pro releases. They didn’t post even a news item, beyond sending a press release, but TIDAL added this minisite:

http://tidal.com/serato

The markets

First, before talking about the technology and the deals here, we need to first talk about what “DJ” means. Across that spectrum, we can talk about three really different poles, as far as use cases:

Wedding DJs (read: people taking requests). This is the big one. You can tell, because when streaming site Pulselocker shut down, there were screams from people who were playing wedding gigs and suddenly lost access to their music. This isn’t just about a technological shift, either. As American music markets have fragmented and mainstream pop music has lost its hegemony – and as DJing and music consumption have become more global – the amount of music people might request has grown, too.

Whatever you think of wedding DJs, you can imagine weddings as a place where global cultural and technological changes are radical and inseparable. And that’s good, because I don’t know about you, but if I have to hear “At Last” one more time, I may try to drown myself in a punch bowl.

If you have to take requests, access to all music becomes a need, not a luxury.

DJs playing hits. There’s also a club DJ crowd looking for big hits, too, which tends to overlap in some ways with the wedding DJs – they’re going for popularity over digging deep in a particular genre. That means that certain big hits that a particular streaming site has (cough, Tidal) become relevant to both these groups. (I was recently schooled on the importance

Underground DJs. More at the CDM end of the pond, you’ve got DJs who are trying to discover new music. Tidal might not be so relevant here, but SoundCloud sure is.

If you routinely tab back and forth between SoundCloud and your DJ app, integrating the two might have appeal – even for underground digital diggers.

The question of what DJs in each of these groups would want to do with streaming also varies. There’s discovery – some people are looking to play tracks on their digital DJ decks without first downloading, or for integration of streaming sites. There’s playing in actual gigs, with a live Internet connection. Then there’s playing gigs where you don’t have an Internet connection – more often the norm – where you might want tracks from a streaming collection to be synced or cached to storage.

How the DJ streaming landscape just shifted

Amsterdam Dance Event last week tends to center on the business of electronic dance music, so it was a stage for some of the players to crow about new achievements – even making some of those announcements before the solution is fully available.

In particular, DJ software maker Serato and streaming site SoundCloud were vocal about their coming solutions.

Some takeaways:

These solutions are online only. Let’s start with the big disclaimer. Downloads are here to stay for now, because these services work only when online, and standalone decks are left out.

Streaming tracks are fully integrated – I’ve confirmed that at least with Serato, who say when you’re connected, the tracks cache and perform just like locally stored tracks. But that’s when you have an Internet connection.

Pulselocker, the service specifically focused around this idea, had offered the ability to store tracks locally. None of these integrations offers offline access, at least initially. I’ve been told by Serato that if you lose an Internet connection mid-track, you can at least continue playing that track; you just lose access to other streaming content.

Wedding DJs or some clubs where you can rely on an Internet connection I expect will take advantage of streaming functionality right away, for DJs who take requests. For DJs who prepare music in advance, though, it’s probably a deal killer.

(Pulselocker was acquired by Beatport earlier this year, a sign that the big players were making their moves.)

Once upon a time, there was Pulselocker. But the service was acquired by Beatport, and nothing yet offers offline functionality as it did. (Blame licensing?)

SoundCloud and Serato are looking to get ahead of the curve – while we wait on Beatport and Pioneer. SoundCloud is partnering with all the major software vendors. (Only Algoriddim, whose djay product line for desktop and mobile is already integrated with Spotify, was missing.)

And Serato are leading the way with Tidal and SoundCloud integration, replacing their existing Pulselocker functionality.

Timeframe for both: “coming months.”

There’s reason to pre-announce something here, though, which is to try to steal some thunder from some market leaders. Beatport and Pioneer are of course dominant players here. We know both are readying solutions – Beatport making use of that aforementioned Pulselocker acquisition, presumably. We just don’t know when those solutions will become available; Pioneer CDJ hardware in particular is likely fairly far into the future.

Just don’t underestimate the Serato/Tidal combo, or even Serato/SoundCloud. Those are big partnerships for the US market and genres like hip hop, both of which are big and growing.

DJ compatibility is a way to sell you subscriptions. Yes, artists and labels get paid, but there’s another factor here – DJing is becoming so widespread that it’s a way to upsell music subscriptions. DJing really is music consumption now.

Use Traktor, Serato, Virtual DJ, Mixvibes, and others? SoundCloud hopes you’ll buy a top-tier SoundCloud Go+ subscription.

Using Serato, and want to play some top hits in high quality? Tidal can offer Premium (AAC) or HiFi (including lossless FLAC and ALAC streaming) tiers.

In case you doubt that, both services will work with full integration using just a 30-day trial.

SoundCloud still lags in quality. Just as on the site, SoundCloud for now is limited to 128kbps at launch, as reported by DJ Tech Tools.

Yes, streaming DJs could represent a new revenue source. This is one potential bright spot here on the creator side. Assuming you can reach DJs who might not have purchased downloads on Bandcamp, Beatport, and the like, the streaming sites will divvy up those subscription fees and calculate revenue sharing for track plays by DJs.

What does all this mean?

It’s easy to assume this is all meaningless. Serious DJs playing big club and festival gigs – or even underground DJs playing with dodgy Internet connections and meticulously organized USB thumb drives of USB – you’re obviously not going anywhere near this when you play.

And those DJs taking requests at weddings and playing the latest dancefloor megahits, well, that’s relevant to you only if you’re producing those kinds of hits.

But there remains some potential here, even with these launch offerings, whenever they do materialize.

For all but the most specific boutique labels and artists, I think most music creators are trying to maximize exposure and squeeze revenue wherever they can. A whole lot of those labels do put up their music through distribution, meaning you can download directly on Bandcamp, for instance, but you can also stream catalogs on Spotify and iTunes. (Anyone who’s doing digital distribution has likely seen long lists of weird streaming and download sites you’ve never even heard of, but where your music gets dumped and … eventually ripped and put up on pirate music sites, too.)

If this gets more people on premium subscriptions, there’s hope. It’s better than people listening to your music on YouTube while you get paid next to nothing.

The real question here is how streaming integration looks. If discovering new music is really what this is about – at least until fast Internet becomes more ubiquitous – then the integrations need to actually make it easy to find music. That shouldn’t just be about some automated recommendation algorithm; it will require a whole new approach to DJ software and music tools. Or at the very least, these tools should make you want to sit at your DJ rig with some friends, punch up some new artist names and find tracks. They should be as appealing as going to a record store, thumbing through records, and putting them on turntables – in a virtual sense, anyway.

And what about ownership? I think it’s important for DJs to be able to differentiate between always-on access to all music everywhere, and their own music collection, even if the collection itself is virtual.

Why not put SoundCloud streaming in your DJ app, but offer one-click buying to add downloads?

Or why not use the cloud as a way to sync music you’ve already bought, rather than make it exclusively an overwhelming supply of music you don’t want, which you lose when you lose Internet access?

At the very least, labels who are already squeezed as it is are unlikely to savor the thought of losing download revenue in exchange for hard-to-track, hard-to-predict subscriptions. $10 a month or so seems utterly unsustainable. A lot of labels already barely break even when they pay for even basic PR and mastering services. Imagine the nightmare of having to invest more just to be found on streaming services, while earning less as flat fee subscriptions are divvied up.

There’s an idea here, but it’s far from being ready. For now, it seems like the best strategy is to keep your catalogs up to date across services, keep building close relationships with fans, and … wait and see. In a few months we should see more of what these offerings look like in practice, and it seems likely, too, we’ll know more about where Pioneer, Beatport, and others plan to go next, too.

The post Streaming music is coming to DJ software, but one step at a time appeared first on CDM Create Digital Music.

Streaming music is coming to DJ software, but one step at a time

Streaming is coming to DJing. Last week saw new announcements from Tidal, SoundCloud, Serato, and several other software makers. But progress is uneven – expect these features at first to be primarily about discovery, not what you do at a gig.

The news this week:

SoundCloud announced coming support in Traktor, Serato, Virtual DJ, Mixvibes, and more:
Just announced: Soon you can access SoundCloud’s catalog of music directly through your DJ software [SoundCloud blog]

Serato announced support for SoundCloud Go+ and TIDAL premium and HiFi subscriptions in forthcoming DJ Lite and DJ Pro releases. They didn’t post even a news item, beyond sending a press release, but TIDAL added this minisite:

http://tidal.com/serato

The markets

First, before talking about the technology and the deals here, we need to first talk about what “DJ” means. Across that spectrum, we can talk about three really different poles, as far as use cases:

Wedding DJs (read: people taking requests). This is the big one. You can tell, because when streaming site Pulselocker shut down, there were screams from people who were playing wedding gigs and suddenly lost access to their music. This isn’t just about a technological shift, either. As American music markets have fragmented and mainstream pop music has lost its hegemony – and as DJing and music consumption have become more global – the amount of music people might request has grown, too.

Whatever you think of wedding DJs, you can imagine weddings as a place where global cultural and technological changes are radical and inseparable. And that’s good, because I don’t know about you, but if I have to hear “At Last” one more time, I may try to drown myself in a punch bowl.

If you have to take requests, access to all music becomes a need, not a luxury.

DJs playing hits. There’s also a club DJ crowd looking for big hits, too, which tends to overlap in some ways with the wedding DJs – they’re going for popularity over digging deep in a particular genre. That means that certain big hits that a particular streaming site has (cough, Tidal) become relevant to both these groups. (I was recently schooled on the importance

Underground DJs. More at the CDM end of the pond, you’ve got DJs who are trying to discover new music. Tidal might not be so relevant here, but SoundCloud sure is.

If you routinely tab back and forth between SoundCloud and your DJ app, integrating the two might have appeal – even for underground digital diggers.

The question of what DJs in each of these groups would want to do with streaming also varies. There’s discovery – some people are looking to play tracks on their digital DJ decks without first downloading, or for integration of streaming sites. There’s playing in actual gigs, with a live Internet connection. Then there’s playing gigs where you don’t have an Internet connection – more often the norm – where you might want tracks from a streaming collection to be synced or cached to storage.

How the DJ streaming landscape just shifted

Amsterdam Dance Event last week tends to center on the business of electronic dance music, so it was a stage for some of the players to crow about new achievements – even making some of those announcements before the solution is fully available.

In particular, DJ software maker Serato and streaming site SoundCloud were vocal about their coming solutions.

Some takeaways:

These solutions are online only. Let’s start with the big disclaimer. Downloads are here to stay for now, because these services work only when online, and standalone decks are left out.

Streaming tracks are fully integrated – I’ve confirmed that at least with Serato, who say when you’re connected, the tracks cache and perform just like locally stored tracks. But that’s when you have an Internet connection.

Pulselocker, the service specifically focused around this idea, had offered the ability to store tracks locally. None of these integrations offers offline access, at least initially. I’ve been told by Serato that if you lose an Internet connection mid-track, you can at least continue playing that track; you just lose access to other streaming content.

Wedding DJs or some clubs where you can rely on an Internet connection I expect will take advantage of streaming functionality right away, for DJs who take requests. For DJs who prepare music in advance, though, it’s probably a deal killer.

(Pulselocker was acquired by Beatport earlier this year, a sign that the big players were making their moves.)

Once upon a time, there was Pulselocker. But the service was acquired by Beatport, and nothing yet offers offline functionality as it did. (Blame licensing?)

SoundCloud and Serato are looking to get ahead of the curve – while we wait on Beatport and Pioneer. SoundCloud is partnering with all the major software vendors. (Only Algoriddim, whose djay product line for desktop and mobile is already integrated with Spotify, was missing.)

And Serato are leading the way with Tidal and SoundCloud integration, replacing their existing Pulselocker functionality.

Timeframe for both: “coming months.”

There’s reason to pre-announce something here, though, which is to try to steal some thunder from some market leaders. Beatport and Pioneer are of course dominant players here. We know both are readying solutions – Beatport making use of that aforementioned Pulselocker acquisition, presumably. We just don’t know when those solutions will become available; Pioneer CDJ hardware in particular is likely fairly far into the future.

Just don’t underestimate the Serato/Tidal combo, or even Serato/SoundCloud. Those are big partnerships for the US market and genres like hip hop, both of which are big and growing.

DJ compatibility is a way to sell you subscriptions. Yes, artists and labels get paid, but there’s another factor here – DJing is becoming so widespread that it’s a way to upsell music subscriptions. DJing really is music consumption now.

Use Traktor, Serato, Virtual DJ, Mixvibes, and others? SoundCloud hopes you’ll buy a top-tier SoundCloud Go+ subscription.

Using Serato, and want to play some top hits in high quality? Tidal can offer Premium (AAC) or HiFi (including lossless FLAC and ALAC streaming) tiers.

In case you doubt that, both services will work with full integration using just a 30-day trial.

SoundCloud still lags in quality. Just as on the site, SoundCloud for now is limited to 128kbps at launch, as reported by DJ Tech Tools.

Yes, streaming DJs could represent a new revenue source. This is one potential bright spot here on the creator side. Assuming you can reach DJs who might not have purchased downloads on Bandcamp, Beatport, and the like, the streaming sites will divvy up those subscription fees and calculate revenue sharing for track plays by DJs.

What does all this mean?

It’s easy to assume this is all meaningless. Serious DJs playing big club and festival gigs – or even underground DJs playing with dodgy Internet connections and meticulously organized USB thumb drives of USB – you’re obviously not going anywhere near this when you play.

And those DJs taking requests at weddings and playing the latest dancefloor megahits, well, that’s relevant to you only if you’re producing those kinds of hits.

But there remains some potential here, even with these launch offerings, whenever they do materialize.

For all but the most specific boutique labels and artists, I think most music creators are trying to maximize exposure and squeeze revenue wherever they can. A whole lot of those labels do put up their music through distribution, meaning you can download directly on Bandcamp, for instance, but you can also stream catalogs on Spotify and iTunes. (Anyone who’s doing digital distribution has likely seen long lists of weird streaming and download sites you’ve never even heard of, but where your music gets dumped and … eventually ripped and put up on pirate music sites, too.)

If this gets more people on premium subscriptions, there’s hope. It’s better than people listening to your music on YouTube while you get paid next to nothing.

The real question here is how streaming integration looks. If discovering new music is really what this is about – at least until fast Internet becomes more ubiquitous – then the integrations need to actually make it easy to find music. That shouldn’t just be about some automated recommendation algorithm; it will require a whole new approach to DJ software and music tools. Or at the very least, these tools should make you want to sit at your DJ rig with some friends, punch up some new artist names and find tracks. They should be as appealing as going to a record store, thumbing through records, and putting them on turntables – in a virtual sense, anyway.

And what about ownership? I think it’s important for DJs to be able to differentiate between always-on access to all music everywhere, and their own music collection, even if the collection itself is virtual.

Why not put SoundCloud streaming in your DJ app, but offer one-click buying to add downloads?

Or why not use the cloud as a way to sync music you’ve already bought, rather than make it exclusively an overwhelming supply of music you don’t want, which you lose when you lose Internet access?

At the very least, labels who are already squeezed as it is are unlikely to savor the thought of losing download revenue in exchange for hard-to-track, hard-to-predict subscriptions. $10 a month or so seems utterly unsustainable. A lot of labels already barely break even when they pay for even basic PR and mastering services. Imagine the nightmare of having to invest more just to be found on streaming services, while earning less as flat fee subscriptions are divvied up.

There’s an idea here, but it’s far from being ready. For now, it seems like the best strategy is to keep your catalogs up to date across services, keep building close relationships with fans, and … wait and see. In a few months we should see more of what these offerings look like in practice, and it seems likely, too, we’ll know more about where Pioneer, Beatport, and others plan to go next, too.

The post Streaming music is coming to DJ software, but one step at a time appeared first on CDM Create Digital Music.

Synthfest 2018 Web Audio – VSTs In The Browser

Published on Oct 8, 2018 sonicstate

Web based synthesizers.

Hacking and 3D printing the future of violins, in a growing community

Violins: they’re often the first example people site when talking about traditional acoustic instruments. But using new pickup techniques and rapid prototyping, that could be about to change.

violinmakers.org is a community for this new kind of digital age luthier – a place to discuss 3D printing and magnetic pickup possibilities and electric violin fabrication, rather than gut strings and wood carving.

Community member Guy Sheffer spoke recently about why this matters. All that legacy of instrument building has perfected acoustic violins, but electric violins remain crude. As Guy writes: “The challenge is, that while modern instruments have been developing effects and new sounds, acoustic violins have been acoustic for the past 400 years.”

Post about why I set up this community

While exploring new frontiers, then, these hacker-luthiers need a place to discuss their experimental craft. Enter violinmakers:

https://violinmakers.org/

There’s already some cool stuff there: open source, 3D-printable electric violins and files for Thingiverse, the repository of 3D printing files. (This is way better than 3D printing guns, obviously.)

Post your designs here

Guy has also shared his own spaced-out, trippy first build, logging the whole process. Yeah, you might as well combine your 3D printed electric violin with some airbrush work, no?

Guy’s own first build. 3D printing + custom paint job. (Now you just need a tour van to match… maybe some custom-built electric, not just an old Ford.)

It’s also worth checking out the open synth platform Guy is using, the Raspberry Pi-based Zynthian. That’s suggestive of a new potential sound source to match the new physical instrument:

http://zynthian.org/

Open sourcing in this case has important implications: it allows this new generation of builders to do what the acoustic makers did generations before, constantly improving and adjusting features like the chin rest or bridge.

There’s clearly a lot of innovation that could happen in acoustic instruments and derivatives – innovation that has often failed to happen because designs are not only conservative, but stuck in very specific modes, and because markets and technologies haven’t developed to serve potential evolution. But it could be that now is the moment. For a past look at my own instrument of choice, the piano, see the separate stories I’ve done on that (including an interview with David Klavins, who will talk passionately about why he wants to see the grand piano evolve past the Steinway Model D):

These piano breakthroughs changed music forever

Acoustic Revelation: Inside the Una Corda, the 100kg, 21st Century Piano Built for Nils Frahm

I’d love to hear more. Got experience with 3D printing, pickups … on violins or other instruments? Do let us know.

The post Hacking and 3D printing the future of violins, in a growing community appeared first on CDM Create Digital Music.

Fragment – FM/Additive & Processing.js input

Published on Aug 17, 2018 Fragment Synthesizer

“Fragment is an online collaborative programmable noise-of-all-kinds realtime audio / visual software.

This video demonstrate additive / FM synthesis with the new Processing.js feature (available on GitHub, not yet released) which allow the creation and live-coding of Processing.js sketches inside Fragment.

Sketches are manipulated as a texture

Behringer have sued Dave Smith Instruments, forum posters for defamation

In addition to sending a cease-and-desist letter to a popular Chinese music gear site, Behringer are now taking rival manufacturer Dave Smith Instruments – and unnamed users of a popular forum – to court.

Last week, CDM reported that Behringer’s global entity, MUSIC Tribe, had sent a cease and desist letter to Chinese news site Midifan, threatening a criminal defamation lawsuit would be the next step. However, as of this writing, no lawsuit has been served.

CDM was tipped off today that court filings are available showing MUSIC GROUP (in the USA) have proceeded with legal action against Dave Smith Instruments and various defendants for libel per se, libel per quod, and product disparagement, in the state of California, seeking damages in excess of US$250,000. The filings are dated 9th of June 2018.

The twist here is that in addition to Dave Smith Instruments, the manufacturer, and employee Anthony Karavidas (an engineer at DSI), the lawsuit seeks damages from an additional twenty individuals posting in the same forum thread. Since the identity of those individuals is unknown, they’re named as “DOES 1-20.” In the words of the lawsuit, “the true names and capacities, whether individual, corporate, associate or otherwise … are unknown to Plaintiff.”

In other words, it’s possible someone reading this article just got sued in California but doesn’t know it yet. Uh… hi there, happy Tuesday.

Behringer name Dave Smith’s Prophet Rev2 as a competitor to the Behringer Deepmind 12 in the suit.

Court filings are available as public record of the San Francisco County Superior Court (that’s the state trial court of the county of San Francisco). Expect a large pile of legal findings from the two companies and their lawyers, but those are located here:

https://sfsuperiorcourt.org/

(All documents related to the proceeding are located under case CGC17559458.)

The lawsuit is directed exclusively at commentary published by DSI employees on the Gearslutz forums.

But to review: a selection of comments by a single engineer and twenty unnamed individuals has been turned into a quarter-million dollar-plus defamation claim against a manufacturer, an individual, and pseudonymous forum posters. That thread is still up – it reached the 153-page count before a Gearslutz moderator closed the discussion, on the 4th of July of 2017. One sample:

Behringer Mini model D? A good idea?

(Whereas some threads were initiated by forum user Uli Behringer himself, this one came from a third party, before it ballooned.)

Dave Smith Instruments declined to comment for this story.

What the lawsuit says

According to evidence presented in the lawsuit, Tony, appearing as Tonykara, wrote a series of messages in a thread in early 2017 on Gearslutz forums, and later identified himself as an engineer working for DSI when a user asked him who he was. In the same thread, DOES 1-20 [users identified only by handle] chime in with other sentiments tilted against Behringer. (This thread itself was not entirely one-sided – even in the court evidence provided, you’ll read other form posters criticizing Dave Smith Instruments and Tonykara.)

These observations range from general complaints about Behringer products copying other products or characterizing business practices as “underhanded,” to specific allegations – particularly, a post by Karavidas that claims the Behringer CT100 cable tester is a “blatant copy” of a product by Ebtech.

Some of these complaints may indeed be factually questionable or genuinely inaccurate. Other claims, however, would be harder to disprove. For instance, the lawsuit highlights a comment by Mike Hiegemann (aka Paul Dither) who says “it’s not a secret that Behringer has ripped off products in the past and is planning to do so in the future.” The lawsuit characterizes that as “false, defamatory, and libelous.”

It would be hard to prove or disprove what Behringer will do in the future (obviously), but note that past lawsuits by Roland and Mackie in fact claimed some past Behringer-branded products were deliberate copies. Whether or not those makers won those lawsuits, it means that they did product a significant amount of material evidence as a matter of public record.

Or to put it another way: if you go out and say CDM is a “crap site,” I really can’t do anything. Even if you say “CDM is a biased site that only does what it’s advertisers want,” ditto. I might disagree, but could I take you to court for libel? If you say “CDM is a crap site that’s just a bunch of archaic open source tools mixed with advertiser news made for aging music hipsters,” I … actually, okay I think I’m just now projecting. You get the point.

So, the next questions to answer appear to be, how truthful or untruthful were these statements? Can they be held as libelous? What damages would the authors owe MUSIC Group, if so? Is Dave Smith Instruments legally responsible for what one of its employees posted on a forum?

And I suspect most of interest to readers of this site, can Behringer unmask a series of people posting under pseudonyms and hold them responsible, as well?

There are three charges made in the lawsuit:

Libel per quod. Paraphrasing: claims about Behringer’s business practice and alleged history of copying other products are false and have hurt the company’s reputation. This category requires demonstrating specific legal damages in court.

Libel per se. This is a related set of claims, but because of US law forbidding attacking someone else’s business profession falsely, might not require damages. [Very big disclaimer: I’m not a lawyer. If I were a lawyer, I would probably advise you that you shouldn’t take this description as legal advice. But you can get this literally from what “per quod” and “per se” mean.]

Product disparagement. Here, because potential customers read these statements, and they refer to the Behringer brand and products, there’s a specific claim of damages to the brand and the products, beyond

If you can find your way through the court documents, you’ll find exhibits reproducing the complete forum thread, plus a cease and desist letter sent on the 7th of March 2017 – and an agreement by Tony Karavidas to comply with the letter.

There are a couple of things here that are unclear to me, which I will try to investigate.

One, reading through the lawsuit, I’m unclear as to the degree to which Karavidas may have violated the terms of the cease and desist. It appears that some message posts – as he attempted to continue to explain and/or complain about the situation – post-date an agreement to cease disparaging Behringer. It may be that failing to adequately respond to the cease and desist triggered the legal action, instead of defusing the issue.

Two, it’s unclear what will happen to other, pseudonymous posters to Gearslutz. The lawsuit says these “Does” 1-20 will be amended to the lawsuit once their identities are known. That may mean attempting to obligate the forum to reveal those identities. (Historical footnote: when Apple attempted to unmask sources and authors of stories on its leaked “Asteroid” audio interface over a decade ago, courts ruled it couldn’t, in a case called Apple versus Does. This is a different set of circumstances, but it gives some clue to how courts handle unidentified users in legal cases.)

Watching this case, however, may prove itself interesting. The law is intended to prevent damage to a profession – whether you’re one person or a big manufacturer – based on untrue claims. But this means two things, if the courts work correctly. On one hand, if false claims were made about Behringer, that will presumably come out. On the other hand, if Behringer are simply gagging criticism, and if industry complaints that their products are unfairly copying intellectual property, theoretically, that should come out, too.

And, of course, it’s possible for both of those scenarios to be true at once, depending on how this shakes out.

But for anyone who believed that defamation was some peculiarity of Chinese law last week, in fact US law and many international laws do hold individuals and publishers (like this one) legally responsible for damages if we make claims that are false. And yes, suffice to say, that could put a publisher out of business, on legal fees alone. That’s not a commentary on this case – that’s the reality of tort laws worldwide. And those laws exist to balance protections on free speech with the impact that speech can have as others.

Behringer had not yet responded to CDM’s request for comment as I published this.

Behringer and China

Late last week, I shared news that Chinese news portal Midifan had received a cease and desist letter from Behringer, via Music Tribe.

Behringer threatens legal action against a site that called it a copycat

Midifan emphasized that the letter complained about products “copying” existing products, and in fact the letter from Music Tribe singled out coverage of Superbooth introductions of products with appearance, names, and structures based on the Sequential [Dave Smith] Pro One, Roland VC-330, SH-101, TR-808, and vintage modules, plus the ARP Odyssey. (Note that KORG had licensed the Odyssey and collaborated with its original creators; Behringer did not.)

Midifan and Music Tribe also clashed over reports by Midifan of a worker strike at Behringer’s MUSIC Tribe City manufacturing facility in Zhongshan, China.

Behringer has declined to comment publicly on CDM’s story. I did reach out to Uli Behringer directly over the weekend, and had a conversation, but got no further public comment.

Uli Behringer did post a statement to the MUSIC Tribe Academy Facebook group, which CDM shared via our own channels.

https://www.facebook.com/musicmotionnoise/posts/10156301703909870

This post disputes claims of worker health issues at their own MUSIC Tribe City manufacturing facility, opened this year. And it invites us to go visit the actual facility.

It doesn’t respond to other questions about the cease and desist letter.

If Behringer add more, I’ll run it here.

The post Behringer have sued Dave Smith Instruments, forum posters for defamation appeared first on CDM Create Digital Music.

Minds, machines, and centralization: AI and music

Far from the liberated playground the Internet once promised, online connectivity now threatens to give us mainly pre-programmed culture. As we continue reflections on AI from CTM Festival in Berlin, here’s an essay from this year’s program.

If you attended Berlin’s festival this year, you got this essay I wrote – along with a lot of compelling writing from other thinkers – in a printed book in the catalog. I asked for permission from CTM Festival to reprint it here for those who didn’t get to join us earlier this year. I’m going to actually resist the temptation to edit it (apart from bringing it back to CDM-style American English spellings), even though a lot has happened in this field even since I wrote it at the end of December. But I’m curious to get your thoughts.

I also was lucky enough to get to program a series of talks for CTM Festival, which we made available in video form with commentary earlier this week, also with CTM’s help:
A look at AI’s strange and dystopian future for art, music, and society

The complete set of talks from CTM 2018 are now available on SoundCloud. It’s a pleasure to get to work with a festival that not only has a rich and challenging program of music and art, but serves as a platform for ideas, debate, and discourse, too. (Speaking of which, greetings from another European festival that commits to that – SONAR, in Barcelona.)

The image used for this article is an artwork by Memo Akten, used with permission, as suggested by curator and CTM 2018 guest speaker Estela Oliva. It’s called “Inception,” and I think is a perfect example of how artists can make these technologies expressive and transcendent, amplifying their flaws into something uniquely human.

Minds, Machines, and Centralisation: Why Musicians Need to Hack AI Now

IN THIS ARTICLE, CTM HACKLAB DIRECTOR PETER KIRN PROVIDES A BRIEF HISTORY OF THE CO-OPTING OF MUSIC AND LISTENING BY CENTRALIZED INDUSTRY AND CORPORATIONS, IDENTIFYING MUZAK AS A PRECURSOR TO THE USE OF ARTIFICIAL INTELLIGENCE FOR “PRE-PROGRAMMED CULTURE.” HE GOES ON TO DISCUSS PRODUCTIVE WAYS FOR THOSE WHO VALUE “CHOICE AND SURPRISE” TO REACT TO AND INTERACT WITH TECHNOLOGIES LIKE THESE THAT GROW MORE INESCAPABLE BY THE DAY.

It’s now a defunct entity, but “Muzak,” the company that provided background music, was once everywhere. Its management saw to it that their sonic product was ubiquitous, intrusive, and even engineered to impact behavior — and so the word Muzak became synonymous with all that was hated and insipid in manufactured culture.

Anachronistic as it may seem now, Muzak was a sign of how tele-communications technology would shape cultural consumption. Muzak may be known for its sound, but its delivery method is telling. Nearly a hundred years before Spotify, founder Major General George Owen Squier originated the idea of sending music over wires — phone wires, to be fair, but still not far off from where we’re at today. The patent he got for electrical signalling doesn’t mention music, or indeed even sound content. But the Major General was the first successful business founder to prove in practice that electronic distribution of music was the future, one that would take power out of the hands of radio broadcasters and give the delivery company additional power over content. (He also came up with the now-loathed Muzak brand name.)

What we now know as the conventional music industry has its roots in pianola rolls, then in jukeboxes, and finally in radio stations and physical media. Muzak was something different, as it sidestepped the whole structure: playlists were selected by an unseen, centralized corporation, then piped everywhere. You’d hear Muzak in your elevator ride in a department store (hence the phrase, elevator music). There were speakers tucked into potted plants. The White House and NASA at some points subscribed. Anywhere there was silence, it might be replaced with pre-programmed music.

Muzak added to its notoriety by marketing the notion of using its product to boost worker productivity, through a pseudo-scientific regimen it called the “stimulus progression.” And in that, we see a notion that presages today’s app behavior loops and motivators, meant to drive consumption and engagement, ad clicks and app swipes.

Muzak for its part didn’t last forever, with stimulus progression long since debunked, customers preferring licensed music to this mix of original sounds, and newer competitors getting further ahead in the marketplace.

But what about the idea of homogenized, pre-programmed culture delivered by wire, designed for behavior modification? That basic concept seems to be making a comeback.

Automation and Power

“AI” or machine intelligence has been tilted in the present moment to focus on one specific area: the use of self-training algorithms to process large amounts of data. This is a necessity of our times, and it has special value to some of the big technical players who just happen to have competencies in the areas machine learning prefers — lots of servers, top mathematical analysts, and big data sets.

That shift in scale is more or less inescapable, though, in its impact. Radio implies limited channels; limited channels implies human selectors — meet the DJ. The nature of the internet as wide-open for any kind of culture means wide open scale. And it will necessarily involve machines doing some of the sifting, because it’s simply too large to operate otherwise.

There’s danger inherent in this shift. One, users may be lazy, willing to let their preferences be tipped for them rather than face the tyranny of choice alone. Two, the entities that select for them may have agendas of their own. Taken as an aggregate, the upshot could be greater normalization and homogenization, plus the marginalization of anyone whose expression is different, unviable commercially, or out of sync with the classes of people with money and influence. If the dream of the internet as global music community seems in practice to lack real diversity, here’s a clue as to why.

At the same time, this should all sound familiar — the advent of recording and broadcast media brought with it some of the same forces, and that led to the worst bubblegum pop and the most egregious cultural appropriation. Now, we have algorithms and corporate channel editors instead of charts and label execs — and the worries about payola and the eradication of anything radical or different are just as well-placed.

What’s new is that there’s now also a real-time feedback loop between user actions and automated cultural selection (or perhaps even soon, production). Squier’s stimulus progression couldn’t monitor metrics representing the listener. Today’s online tools can. That could blow apart past biases, or it could reinforce them — or it could do a combination of the two.

In any case, it definitely has power. At last year’s CTM hacklab, Cambridge University’s Jason Rentfrow looked at how music tastes could be predictive of personality and even political thought. The connection was timely, as the talk came the same week as Trump assumed the U.S. presidency, his campaign having employed social media analytics to determine how to target and influence voters.

We can no longer separate musical consumption — or other consumption of information and culture — from the data it generates, or from the way that data can be used. We need to be wary of centralized monopolies on that data and its application, and we need to be aware of how these sorts of algorithms reshape choice and remake media. And we might well look for chances to regain our own personal control.

Even if passive consumption may seem to be valuable to corporate players, those players may discover that passivity suffers diminishing returns. Activities like shopping on Amazon, finding dates on Tinder, watching television on Netflix, and, increasingly, music listening, are all experiences that push algorithmic recommendations. But if users begin to follow only those automated recommendations, the suggestions fold back in on themselves, and those tools lose their value. We’re left with a colorless growing detritus of our own histories and the larger world’s. (Just ask someone who gave up on those Tinder dates or went to friends because they couldn’t work out the next TV show to binge-watch.)

There’s also clearly a social value to human recommendations — expert and friend alike. But there’s a third way: use machines to augment humans, rather than diminish them, and open the tools to creative use, not only automation.

Music is already reaping benefits of data training’s power in new contexts. By applying machine learning to identifying human gestures, Rebecca Fiebrink has found a new way to make gestural interfaces for music smarter and more accessible. Audio software companies are now using machine learning as a new approach to manipulating sound material in cases where traditional DSP tools are limited. What’s significant about this work is that it makes these tools meaningful in active creation rather than passive consumption.

AI, back in user hands

Machine learning techniques will continue to expand as tools by which the companies mining big data make sense of their resources — from ore into product. It’s in turn how they’ll see us, and how we’ll see ourselves.

We can’t simply opt out, because those tools will shape the world around us with or without our personal participation, and because the breadth of available data demands their use. What we can do is to better understand how they work and reassert our own agency.

When people are literate in what these technologies are and how they work, they can make more informed decisions in their own lives and in the larger society. They can also use and abuse these tools themselves, without relying on magical corporate products to do it for them.

Abuse itself has special value. Music and art are fields in which these machine techniques can and do bring new discoveries. There’s a reason Google has invested in these areas — because artists very often can speculate on possibilities and find creative potential. Artists lead.

The public seems to respond to rough edges and flaws, too. In the 60s, when researcher Joseph Weizenbaum attempted to parody a psychotherapist with crude language pattern matching in his program, ELIZA, he was surprised when users started to tell the program their darkest secrets and imagine understanding that wasn’t there. The crudeness of Markov chains as predictive text tool — they were developed for analyzing Pushkin statistics and not generating language, after all — has given rise to breeds of poetry based on their very weirdness. When Google’s style transfer technique was applied using a database of dog images, the bizarre, unnatural images that warped photos into dogs went viral online. Since then, Google has made vastly more sophisticated techniques that apply realistic painterly effects and… well, it seems that’s attracted only a fraction of the interest that the dog images did.

Maybe there’s something even more fundamental at work. Corporate culture dictates predictability and centralized value. The artist does just the opposite, capitalizing on surprise. It’s in the interest of artists if these technologies can be broken. Muzak represents what happens to aesthetics when centralized control and corporate values win out — but it’s as much the widespread public hatred that’s the major cautionary tale. The values of surprise and choice win out, not just as abstract concepts but also as real personal preferences.

We once feared that robotics would eliminate jobs; the very word is derived (by Czech writer Karel Čapek’s brother Joseph) from the word for slave. Yet in the end, robotic technology has extended human capability. It has brought us as far as space and taken us through Logo and its Turtle, even taught generations of kids math, geometry, logic, and creative thinking through code.

We seem to be at a similar fork in the road with machine learning. These tools can serve the interests of corporate control and passive consumption, optimised only for lazy consumption that extracts value from its human users. Or, we can abuse and misuse the tools, take them apart and put them back together again, apply them not in the sense that “everything looks like a nail” when all you have is a hammer, but as a precise set of techniques to solve specific problems. Muzak, in its final days, was nothing more than a pipe dream. What people wanted was music — and choice. Those choices won’t come automatically. We may well have to hack them.

PETER KIRN is an audiovisual artist, composer/musician, technologist, and journalist. He is the editor of CDM and co-creator of the open source MeeBlip hardware synthesizer (meeblip.com). For six consecutive years, he has directed the MusicMaker’s Hacklab at CTM Festival, most recently together with new media artist Ioann Maria.

http://ctm-festival.de/

The post Minds, machines, and centralization: AI and music appeared first on CDM Create Digital Music.

Behringer threatens legal action against a site that called it a copycat

Midifan, a top music portal and online magazine in China, has received notice from Behringer, threatening legal action over stories by Musicfan that called Behringer a “copycat.”

Midifan is a Chinese-language site, but evidently a significant one for that market. And Nan Tang, CEO and founder of the site, is also co-founder of 2nd Sense Audio, the software developer behind the WIGGLE synth and ReSample software. Nan, also known at musiXboy, contacted CDM with the news.

Nan has provided CDM with Midifan’s own English translation of the legal letter, as well as a statement in English. Translation is an important factor here, given we’re talking about libel, but Midifan’s English translations here for what they wrote are “shameless” and “copycat.”

Here’s the statement from Midifan:

Behringer sued Chinese media Midifan for saying them COPYCAT and shameless

Chinese portal website Midifan has received a lawyer’s letter from Behringer last week. Behringer claimed the fact that Midifan repeatedly reporting news about Behringer without any factual basis and using insulting words such as “copycat”, “shameless” has caused the reputation of the four clients (Uli Behringer, MUSIC Tribe Global Brands Ltd, Zhongshan Behringer Electronic Co., Ltd and Zhongshan Ouke Electronic Co., Ltd) to be seriously damaged.

The law firm worked for Behringer also claimed that they have reported to its local public security agency and plans to pursue legal responsibilities through criminal way.

A manufacturer taking legal action against music press for being critical or even calling it names is as far as I know fairly unprecedented. I’d almost call it shamel– actually, let’s just stick with “unprecedented.”

But it appears the letter is threatening criminal libel proceedings in China, not just civil charges. Criminal libel can carry more serious consequences; as reported in 2013 by The Guardian and Bloomberg, criminal libel in China can carry up to a three year prison sentence.

Ceci n’est pas une imitateur.
Behringer showed … uh… tributes to the Roland SH-101, , Roland VC-330, Roland TR-808, ARP Odyssey, and Sequential Prophet One in Berlin last month.

That said, in China as internationally, the law states that something is only libelous if it’s untrue. The “copycat” reference refers to Behringer gear shown at Superbooth, for instance, that literally was designed to look and sound like classic instruments (Roland TR-808, Sequential Circuits Prophet One, etc.). “Shameless” is a matter of opinion. Arguably, too, sending cease and desist letters to media outlets because they called you shameless and a copycat would presumably also not be a great way to demonstrate you possess shame.

Behringer Pro-One, 808, ARP Odyssey Clones At Superbooth 2018 [Synthtopia]

What might make Midifan different from other English-language sites that used similar language? It may be relevant that at the end of last year, Midifan reported on striking workers in a manufacturing facility Behringer owns, where labor complained about health issues. (That article has a number of photos, as well as English-language response from Behringer managers instructing workers to keep windows closed.)

For their part, Midifan have posted a response on their site (no English translation available):

https://www.midifan.com/modulenews-detailview-29955.htm

Midifan tell CDM that they have removed all references to the words “copycat” and “shameless” and replaced them with “more neutral words like “TRIBUTE and CLONE.”

Here’s the full letter from Behringer as translated by Midifan into English.

Lawyer’s Letter
In Relation to Urge You to Stop the Willful Infringement Behavior

Dear Sir or Madam,
Upon the entrustment of Zhongshan Behringer Electronic Co., Ltd (hereinafter referred to as Behringer Corporation), Zhongshan Ouke Electronic Co., Ltd (hereinafter referred to as Ouke Corporation), Uli Behringer and MUSIC Tribe Global Brands Ltd, Guangdong Baoxin Law Firm sends you the lawyer’s letter to your company on matters that urging you to stop the willful infringement behavior.

In accordance with the information and statements from four aforementioned clients, MUSIC Tribe Global Brands Ltd is the registered holder of the trademark “BEHRINGER”. On the basis of the authorization of MUSIC Tribe Global Brands Ltd, Ouke Corporation has the right to use the “BEHRINGER” trademark to engage in production and business activities within the scope of relevant authorizations. Behringer Corporation,whose English name also includes the word “Behringer”, is an affiliate enterprise of MUSIC Tribe Global Brands Ltd and Ouke Corporation.

Since 2017, you have continuously published articles such as “Exclusive breaking: Behringer’s recent crazy copycat stems from a trap of imitation chip more than a decade ago.” “, Can’t stop copycat: Behringer will make the Eurorack module next?” , “Shameless: Behinger exhibited copycat of TR-808, SH-101, Pro-One and Odyssey” on the website “https://www.midifan.com/”

and

Tencent WeChat public account “Midifan” without any factual basis, claiming that the above four principals have plagiarized the products of other companies. Beyond that, the fact that you repeatedly used insulting words such as “shameless”, “copycat” has caused the reputation of my four clients to be seriously damaged.

In view of this, Ouke Corporaiton has reported to its local public security agency and plans to pursue your legal responsibilities through criminal way. Meanwhile, the four principals entrusted me with this letter expressly:

Please be sure to remove all the insulting infringement articles four principals involved and other related information posted on the internet platform such as “https://www.midifan.com/” and Tencent WeChat public account “Midifan” , etc. within seven days of receipt of this letter, and issue a clarification announcement within the above-mentioned period to eliminate all adverse effects caused by the negative reputation of the four principals due to your inappropriate comments.

If you fail to perform the above obligations within the time limit, the four principals will continue pursuing your legal liabilities (including but not limited to
the criminal responsibility for defamation) through legal ways. All consequences and expenses resulting from this shall be borne by you.

In order to avoid inconvenience, please weigh the pros and cons and perform the above obligations in a timely manner!
Best regards.

CDM has reached out to Music Tribe / Behringer for comment via their public contact form, but has not yet received a response. Curiously, I found many of my colleagues don’t have direct, current media contacts with the company.

Oh, also – it seems Germany has criminal libel laws, too. So, naturally, let me then reiterate – what I saw at Superbooth were … meticulous recreations of famous electronic instruments of yore by a …. manufacturer of equipment that is … Behringer.

Now, please, I don’t want to go to German jail. Aber wenn ich ins Gefängnis gehe, wird sich mein Deutsch verbessern.

http://midifan.com/

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Crafty Work – by Earmonkey (feat. Betty Boop) – Roland Cloud Electrode Synth

Published on Apr 25, 2018 Earmonkey Music

“A bit of Kraftwerk inspiration and messing with some of the Roland Cloud Electrode Synth with some TR-808 and TR-909. It’s fun and easy to create with this Roland Cloud stuff and I really do like it quite a lot.”

Some details on Roland Cloud Electrode Synth:

Features

Sonically Shocking
Inspired by the Complextro sub-genre of Electro House (or