Re: (313) Theo --- Adelaide
He is. See below: > Theos doing womad on the thursday night There is a second date in Adelaide, but I had an idea it was underground private party. It's at a mansion. You can e-mail questions to me and I'll pass onto the promoter directly as she's a friend of mine. -- >From: David Gillies <[EMAIL PROTECTED]> >To: Sam K <[EMAIL PROTECTED]> >Subject: Re: (313) Theo --- Adelaide >Date: Wed, 11 Feb 2004 9:54 AM > > Sam K wrote: >> Adelaide on sunday 7th march - >> does anybody know if theo is confirmed for this date... >> is there anywhere that u can buy anti biker spray? > > I thought he was supposed to be playing as part of WOMAD, but I can't > find anything on the WOMAD site...
Re: (313) Theo --- Adelaide (and Sydney, Newcastle)
If anyone has any questions on this, e-mail me privately and I'll forward to the promoter. Cheers Cyclone -- >From: "Ryan Snowden" <[EMAIL PROTECTED]> >To: <[EMAIL PROTECTED]>, "'Sam K'" <[EMAIL PROTECTED]> >Subject: RE: (313) Theo --- Adelaide (and Sydney, Newcastle) >Date: Tue, 10 Feb 2004 3:42 PM > > Don't know about Adelaide either, but he's doing Perth > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > Sent: Tuesday, 10 February 2004 12:33 PM > To: Sam K > Cc: list > Subject: Re: (313) Theo --- Adelaide (and Sydney, Newcastle) > > > > > > > can't help with adelaide - but anybody know if ticket can be bought in > advance for sydney and newcastle. > > ps. i didn't know that bikers were into theo parrish. if you want a spray to > attract bikers just use the wipe on instant sex appeal sold in the bathroms > of all good pubs. for repelling you could try pepper spray. but i don't > think it works. everytime the police shoot someone they say they sprayed the > person with pepper spray first, but it did nothing so they had to shoot. > james > www.jbucknell.com > > > > > > > "Sam K" > > <[EMAIL PROTECTED] To: "list" > <313@hyperreal.org> > l.net> cc: (bcc: James > Bucknell/ARD/AU/ReadersDigest) >Subject: (313) Theo --- > Adelaide > 10/02/04 04:15 > > AM > > > > > > > > > > Adelaide on sunday 7th march - > does anybody know if theo is confirmed for this date... > is there anywhere that u can buy anti biker spray? > > > Sam > -- > Sam K > [EMAIL PROTECTED] > sub-sequence 2xx 98.3fm > > -- > http://www.fastmail.fm - Consolidate POP email and Hotmail in one place > > > >
Re: (313) Theo --- Adelaide
Sam K wrote: Adelaide on sunday 7th march - does anybody know if theo is confirmed for this date... is there anywhere that u can buy anti biker spray? I thought he was supposed to be playing as part of WOMAD, but I can't find anything on the WOMAD site...
Re: (313) final scratch
I use strictly vinyl when I dj, but I can't say that I won't purchase a final scratch set up in the future. The convenience of carrying a lighter bag is my main reasoning for it, especially since when I play out, I always bring close to 100 records. Plus you don't have the risk of scratching the rare records that you dropped some coin on. Also, look at all of the edits that Surgeon does on tracks that he plays that he never presses, it gets too costly if you want to press every single remix you create. As far as the purity of music take on this and everything - I don't believe any of that. If you're trying to listen to something as close to the original recording as possible, then you wouldn't play it out at +/- x%. That takes the music out of key. It's still mathematically correct in that the frequency between the steps on that scale are the same, but the scale is shifted up or or down, thus not making it truly A minor, or whatever key it was originally played in; it would become A minor +26Hz, or whatever the math would come out to be depending on the percent change of the pitch shift. Also, a lot of music is being recorded as strictly digital these days, studios exist without a single reel of analog tape. Recording to a laptop and seeing the drawn out waveform does not make the file analog, since hard drives are written to digitally, the .wav file is still a digitally sampled waveform. So if it is originally a digital recording, why convert it to analog, there's no gain in sound quality, you can't add depth to a sound after it's already created. Besides, isn't the "art" of djing, more based on adding your own twist on other people's music? If that includes doing reworks, and edits of a track using digital software, and digital waveform editors, then so be it, that's at the remixer's discretion. Finally, I'd say that even the biggest audiophiles would have quite a challenge ahead of them in deciphering the difference between a piece of vinyl, and a properly encoded record using lame at a reasonable sample rate and bit depth when it's played over a loud, noisy, and often boomy club system. Not trying to argue on the matter at all, just trying to voice my opinion on the whole digital dj realm. I used to be so ridiculously anti-final scratch, that I got into an argument with Richie Hawtin about it. He made very valid points, but I was so passionate about my stance on the matter, that I failed to really take them into account at the time. I just think that it's inevitable that djing is going to go digital, whether it be for better or for worse. -Andy [EMAIL PROTECTED] wrote: This has me thinking about what music means to people today - seems to be more of a commodity than a communication between two or more living beings All the digital formats remove parts of the sound spectrum and change the sound of the music - some may say it's crisper but the human ear isn't designed for it I would propose that we don't react the same way, on a physical level, to digital vs analogue sound. Our ears are designed by nature to take in all of the sound in the environment - ambient and active. What I don't understand is why people want to have less compression on their formats but still think that digital is the wave of the future. If you want less compression then just use analogue sound sources. That to me is saying that analogue is the best because it's the closest recording to actually being there but we're going to cut out more of the spectrum because it's the way forward. Digital is convenient for producing music but it's no where near analogue for reproduction. It never will be. Why are we allowing ourselves to be led by the Pied Piper of the established music industry toward more music as commodity? MEK "robin" <[EMAIL PROTECTED]To: "'Martin'" <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, ctric.com><313@hyperreal.org> cc: 02/10/04 07:34 AMSubject: RE: (313) final scratch -> Single sales are now the lowest they have ever been, in fact -> I was in a -> studio last week and the first thing they knocked out wasn
Re: (313) UR - Unexploitable. UR bags - Not Unbreakable.
[EMAIL PROTECTED] said: > any sort of hardware or camping store should have those types of plastic > clips. > but you'll have to sew them on yourself Actually, no - the clips themselves (the part that busted) are lashed in, not sewn in, to the lower straps. It's the side-squeeze buckle they clip into (which *is* sewn in) that's a [EMAIL PROTECTED] to replace :-) I think I hit the jackpot here: http://www.mountainsports.com/mssearch.asp?Option=Detail&Detail=22275 "1 1/2" Mojave Side Squeeze Buckle" - $1.65 Thanks to Raph for putting me on to checking out REI's site - that put me on the right track. And thanks to all the 313 outdoorsmen massiv ;-) - Greg
Re: RE: (313) Force, Inc
For the record I really like the label, and wish them the best, but the first rule of finance is that if you aren't going to be able to pay someone, you need to communicate, and arrange something. Being slow to payis understandable, but failure to communicate is inexcusable. Force may be in the same boat where distributors have gone bankrupt, without paying for product. A lot of people have shipped records to distributors, who subsequently go tits up. They can't get their product back to sell -- it being an asset of the bankrupt company -- but they still have to pay the pressing plant, or they lose the ability to make more records. On Tue, 10 Feb 2004 [EMAIL PROTECTED] wrote: > > I don't think Force Inc has announced anything publicly, and supposedly > they were selling stuff on ebay because they were closing a warehouse or > moving warehosues or something..?. but rumors of financial troubles have > been floating around. If this is the case, hopefully they're not going > down for the count..
Re: (313) The right download format
on 11/2/04 7:53 AM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > Sounds like what mp3.com was supposed to be but I don't think for a minute > that will actually happen that way > > Apple and other communications companies are not altruistic entities - they > are in it for the money > what other communications companies are you talking about? Clear Channel? > Time-Warner? Microsoft? at this stage i'm talking about apple, napster, od2 and the other forefront digi download channels > if they become quasi-labels then I guarantee you they will have > not-so-quasi-contracts. of course not. this is the real world and change is gradual. their contracts will be real but they will ask for a smaller share of reveneue than that consistenly asked for by major labels > they may not call themselves major record labels but they will act like > them (and maybe worse since many large corporations are now considered > individual entities by the law and aren't held responsible in the same way > smaller business are). The artist will make a contract with the "marketing > department" then and music will get even more recycled. The marketing > department will take over all aspects of how to market a band because it > will be a product. The artist will be, even more concretely, a sub-brand of > the label. That is what marketing departments do. yes - i'm saying that record labels will no longer own the means of manufacture and distribution. this is their power base - it is slowly disappearing - record comapnies are undergoing a massive restrcture atm. they have shed 1000s of jobs worldwide. > >> the days of record companies asking for 70% revenue shares of sales are > over. > > what makes you so sure? i work in the industry and i've seen it happen already. > they still will have major control of distribution - look at iTunes - how > many websites would you have to visit to get 20% of the music they have > available? just one. go to kazaa and download their software. > And if you found them all online what percentage would be able > to sell the tune directly to you? The monopoly is just going to change > hands yes you're probably right to a degree - with 5 major labels its actually more of an oligopoly at the moment. > I don't see it as being as equal as you do - it never has been so why would > the already large companies who have the technological jump on it (Apple, > etc.) i never said it would be equal - this is the real world, nothing is black and white and that includes the debate over file sharing and the future of music. i see it becoming more equal than it isperhaps I'm an optmist. i have been witness to the disgusting behaviour of major record labels, as far as I'm concerned I would be suprised if we reached a situation where the power wielded by major record labels was as immense as it was up until the late 90's/
Re: (313) Force, Inc
At 01:49 PM 2/10/2004, Kent williams wrote: These aren't good signs. Does anyone know what's up? I heard something about them folding a while ago. I can't get the guy who told me to give me an actual source, though. -- unsigned short int to_yer_mama; http://www.dirty.org/~mkb Matthew Kane : Software Engineer : Zebra Atlantek, Inc. [EMAIL PROTECTED] || [EMAIL PROTECTED]
(313) Miami 313???
313, The wife and I just won a 3 day trip to Miami! Are there any Miami 313rs on the list? Any recommendations for clubs/record shopping in the Miami area? Thanks, ML www.subnsynth.net
(313) UR - Unexploitable. UR bags - Not Unbreakable.
Is there a brand name anywhere on the plastic thingys?? If so google it, order new ones and have your better half sew 'em on;) - Original Message - From: "Greg Earle" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Tuesday, February 10, 2004 12:34 PM Subject: (313) UR - Unexploitable. UR bags - Not Unbreakable. > OK - I know several of you out there have the same black UR record bag > as I do. > > Over the last couple of years I've broken 3 out of the 4 "prongs" on > the 2 latches that hold the bag closed when clicked into place - the > last one broke off 2 weeks ago in Berlin, after I tried to open the > bag after having been out in the cold all afternoon. *Snap!* So now > I can't even close the bag all the way anymore ... g. > > Is there any way to replace these little black plastic latch buggers, > short of getting a whole new bag? (Then again, those new Camo print > bags > look pretty good ... ) > > - Greg >
Re: RE: (313) Force, Inc
I don't think Force Inc has announced anything publicly, and supposedly they were selling stuff on ebay because they were closing a warehouse or moving warehosues or something..?. but rumors of financial troubles have been floating around. If this is the case, hopefully they're not going down for the count.. -pete - Original Message - From: FC2 Richards <[EMAIL PROTECTED]> Date: Tuesday, February 10, 2004 7:35 am Subject: RE: (313) Force, Inc > The Kooky Scientist himself was on a couple of months ago and said > that he > hadn't gotten paid for his remix of "My Way" > > Its a shame if they are going under, they still put out some good > records,and their back catalog is quite impressive! > > Peace > > Jeff > > > -Original Message- > From: John Osselaer [EMAIL PROTECTED] > Sent: Tuesday, February 10, 2004 7:50 PM > To: 'Kent williams'; '313 list'; 'i'd do mary' > Subject: RE: (313) Force, Inc > > > Let's hope nothing too bad. I'm particularly fond of their stuff on > Force Tracks and the occasional Force Inc. > > Anyone hear more 'bout this? > > John > > --- > About 6 months ago giant piles of Force Inc product > on Ebay, apparently listed by people from the label. > > A friend has a CD out on Force Inc, and they haven't paid the promised > advance, > and they don't answer E-mail. > > A publication I write for hasn't been paid for advertisements by Force > Inc, > for over a year, and doesn't answer E-mail. > > These aren't good signs. Does anyone know what's up? > > > > >
RE: (313) tresor meets apple
>The thing that worries me most about apple etc, they all try to punish >the user to use their own software to play their native formats. that's like having to buy Sony turntables to play a record made by Sony - it's ridiculous but because of the world of digital they can make it happen. It's all about generating revenue. MEK
Re: (313) The right download format
Sounds like what mp3.com was supposed to be but I don't think for a minute that will actually happen that way Apple and other communications companies are not altruistic entities - they are in it for the money what other communications companies are you talking about? Clear Channel? Time-Warner? Microsoft? if they become quasi-labels then I guarantee you they will have not-so-quasi-contracts. they may not call themselves major record labels but they will act like them (and maybe worse since many large corporations are now considered individual entities by the law and aren't held responsible in the same way smaller business are). The artist will make a contract with the "marketing department" then and music will get even more recycled. The marketing department will take over all aspects of how to market a band because it will be a product. The artist will be, even more concretely, a sub-brand of the label. That is what marketing departments do. >From an essay I found on the Guardian's website http://www.guardian.co.uk/arts/fridayreview/story/0,12102,1009620,00.html " By the middle of the 90s, songs built in the image of the vinyl single were used to form a soundtrack that suited the way the industry was marketing music to young teenagers. It was almost the last thing in the ruthless new formula- the image, the clothes, the colours, the smiles, the names, all this came first, and then the song was added at the end, because, this being pop, you needed songs as part of the overall strategy. And pop being at least 50 years old, there is plenty of material to copy, appropriate, adjust, remake, remodel." if the major record companies, that we have now, lose their power and become marketing departments - of which larger companies are they going to be the marketing department for? >the days of record companies asking for 70% revenue shares of sales are over. what makes you so sure? - it's been working this way for years and there hasn't been any depression in the number of artists looking to sign contracts why change a good thing (for the company) they still will have major control of distribution - look at iTunes - how many websites would you have to visit to get 20% of the music they have available? And if you found them all online what percentage would be able to sell the tune directly to you? The monopoly is just going to change hands and maybe be called something else but the emperor is still naked. I don't see it as being as equal as you do - it never has been so why would the already large companies who have the technological jump on it (Apple, etc.) want to distribute their wealth when they've already proved to themselves that as long as people aren't aware of what goes on behind the curtain they'll keep buying crappy sounding music files that have no worth in the physical world except to sell another hamburger and a pair of jeans. It's all about convenience - it's all about money. MEK Rc <[EMAIL PROTECTED]To: <313@hyperreal.org> mus.com.au> cc: Subject: Re: (313) The right download format 02/10/04 02:06 PM this will change. within the next 3 years you will see apple and other communications companies becoming quasi-labels. as major record companies lose their powerful role as manufacturers and distributors - they will become marketing departments and that's all. the days of record companies asking for 70% revenue shares of sales are over. there is no reason that in 3 years time, when the majority of all legit music sales are digital that apple and similar won't start dangling contracts in front of recording artists. revenue shares will become more realistic and hopefully it will be possible for less successful musicians to make a moderate revenue. on 11/2/04 3:10 AM, Martin at [EMAIL PROTECTED] wrote: >> sale. Suddenly that 99 cent song you just bought has a cost of 50 cents. >> Split >> that 50/50 with the artist and everyone makes 25 cents. As you can see >> nobody >> is going to get rich any time soon. > > Read on fella... > http://www.dow
RE: (313) UR - Unexploitable. UR bags - Not Unbreakable.
you should just sew on one of them moutnain climbing hooks, I know they make smaller ones that people put on thier key chains. And just feel lucky that you may have to buy a new bag because yours broke...I had my gold UR bag stolen. Jeff -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, February 10, 2004 6:38 PM To: 313@hyperreal.org Subject: Re: (313) UR - Unexploitable. UR bags - Not Unbreakable. any sort of hardware or camping store should have those types of plastic clips. but you'll have to sew them on yourself On Tue, 10 Feb 2004, Greg Earle wrote: > OK - I know several of you out there have the same black UR record bag > as I do. > > Over the last couple of years I've broken 3 out of the 4 "prongs" on > the 2 latches that hold the bag closed when clicked into place - the > last one broke off 2 weeks ago in Berlin, after I tried to open the > bag after having been out in the cold all afternoon. *Snap!* So now > I can't even close the bag all the way anymore ... g. > > Is there any way to replace these little black plastic latch buggers, > short of getting a whole new bag? (Then again, those new Camo print > bags > look pretty good ... ) > > - Greg > >
RE: (313) Force, Inc
The Kooky Scientist himself was on a couple of months ago and said that he hadn't gotten paid for his remix of "My Way" Its a shame if they are going under, they still put out some good records, and their back catalog is quite impressive! Peace Jeff -Original Message- From: John Osselaer [mailto:[EMAIL PROTECTED] Sent: Tuesday, February 10, 2004 7:50 PM To: 'Kent williams'; '313 list'; 'i'd do mary' Subject: RE: (313) Force, Inc Let's hope nothing too bad. I'm particularly fond of their stuff on Force Tracks and the occasional Force Inc. Anyone hear more 'bout this? John --- About 6 months ago giant piles of Force Inc product on Ebay, apparently listed by people from the label. A friend has a CD out on Force Inc, and they haven't paid the promised advance, and they don't answer E-mail. A publication I write for hasn't been paid for advertisements by Force Inc, for over a year, and doesn't answer E-mail. These aren't good signs. Does anyone know what's up?
RE: (313) tresor meets apple
I'm trying to offer the best spread between size and quality on my netlabels (www.rohformat.de, www.primative.net/schleudertrauma/ < shameless self promotion - GOTCHA! ;). That's actually vbr mp3's compressed with lame 3.90.3 codec using the --alt-preset standard setting. Right now i'm almost alone with vbr in the netlabel scene. Many others still use lame compressed 192kb HQ mp3's. I would also love to offer .ogg which i consider to be way better, qualitywise - it's not yet spread broadly enough. Since a lot of people in our "audience" are using Traktor/FS i won't move to .ogg before N.I. will support it. On a sidenote, the difference between lame --alt-preset standard or .ogg and lossless formats isn't significant enough to approach our users with lossless compressed files that are up to 7 times bigger. Many people who download music from netlabels aren't flatrate or highspeed internet users. Maybe in some years the public request for lossless files will be strong enough to make the step. I don't see that for now as it's also a storageproblem, and hd's aren't up for this task yet ;) I personally think that discussion about file compression techniques should be hold under seperate cover (bet that'd be a nice flamewar, heh...) The thing that worries me most about apple etc, they all try to punish the user to use their own software to play their native formats. It's the same as with cd copy protection, the customers don't want to have limited access to products they buy. Back to aac (e.g.), converting between compressed formats doesn't make sense and are NO option as some industry people might tell us. About the bandwidth, storage space vs quality problem: Of course, bigger files have higher fixed costs. But why is there no option for the customers to choose buying better quality for a higher price? I bet the industry assumes that the usual customer is a dumbo and satisfied with the crap they sell there (pity, that's even true :/ ). Well, where is this heading to? I bet it needs some group effort in the "underground", i.e. a foundation of independant labels offering music in reasonable quality. Instead, i have to learn that Tresor joins apple :( The only thing that makes me a little bit happy about the situation: the amount of hits on netlabel websites is steadily growing. So should i cry or laugh?.. My 2,5 €cent. Ronny > two threads coming together at the same time... > > so as there are a lot of independent label runners on this > list who might be considering digital distribution what > format do you think digital releases should be released in? > > high bit rate lossy compressed format (mp3/ogg/aac) or full > width wavs/aiffs? > > i favour the latter. i have the bandwidth tho. > > robin... > > > -> Too bad the quality offered by Apple is still way below > enjoyable or > -> even playable :( Until the point they start selling music encoded > -> with reasonable codecs in a file format that can be used by any > -> application i > -> can only say: > -> > -> IT SUCKS. > -> > -> Even if the entire 313 music history would be available there. > -> > -> Thx for listening, > -> > -> Ronny
Re: (313) The right download format
this will change. within the next 3 years you will see apple and other communications companies becoming quasi-labels. as major record companies lose their powerful role as manufacturers and distributors - they will become marketing departments and that's all. the days of record companies asking for 70% revenue shares of sales are over. there is no reason that in 3 years time, when the majority of all legit music sales are digital that apple and similar won't start dangling contracts in front of recording artists. revenue shares will become more realistic and hopefully it will be possible for less successful musicians to make a moderate revenue. on 11/2/04 3:10 AM, Martin at [EMAIL PROTECTED] wrote: >> sale. Suddenly that 99 cent song you just bought has a cost of 50 cents. >> Split >> that 50/50 with the artist and everyone makes 25 cents. As you can see >> nobody >> is going to get rich any time soon. > > Read on fella... > http://www.downhillbattle.org/itunes/ >
RE: (313) Force, Inc
Let's hope nothing too bad. I'm particularly fond of their stuff on Force Tracks and the occasional Force Inc. Anyone hear more 'bout this? John --- About 6 months ago giant piles of Force Inc product on Ebay, apparently listed by people from the label. A friend has a CD out on Force Inc, and they haven't paid the promised advance, and they don't answer E-mail. A publication I write for hasn't been paid for advertisements by Force Inc, for over a year, and doesn't answer E-mail. These aren't good signs. Does anyone know what's up?
(313) Force, Inc
About 6 months ago giant piles of Force Inc product on Ebay, apparently listed by people from the label. A friend has a CD out on Force Inc, and they haven't paid the promised advance, and they don't answer E-mail. A publication I write for hasn't been paid for advertisements by Force Inc, for over a year, and doesn't answer E-mail. These aren't good signs. Does anyone know what's up?
Re: (313) UR - Unexploitable. UR bags - Not Unbreakable.
any sort of hardware or camping store should have those types of plastic clips. but you'll have to sew them on yourself On Tue, 10 Feb 2004, Greg Earle wrote: > OK - I know several of you out there have the same black UR record bag > as I do. > > Over the last couple of years I've broken 3 out of the 4 "prongs" on > the 2 latches that hold the bag closed when clicked into place - the > last one broke off 2 weeks ago in Berlin, after I tried to open the > bag after having been out in the cold all afternoon. *Snap!* So now > I can't even close the bag all the way anymore ... g. > > Is there any way to replace these little black plastic latch buggers, > short of getting a whole new bag? (Then again, those new Camo print > bags > look pretty good ... ) > > - Greg > >
RE: (313) UR - Unexploitable. UR bags - Not Unbreakable.
Greg, I would try REI or some other outdoor outfitter. They usually have all sorts of different snaps and you should be able to find one that fits. Good luck Raph -Original Message- From: Greg Earle [mailto:[EMAIL PROTECTED] Sent: Tuesday, February 10, 2004 12:35 PM To: 313@hyperreal.org Subject: (313) UR - Unexploitable. UR bags - Not Unbreakable. OK - I know several of you out there have the same black UR record bag as I do. Over the last couple of years I've broken 3 out of the 4 "prongs" on the 2 latches that hold the bag closed when clicked into place - the last one broke off 2 weeks ago in Berlin, after I tried to open the bag after having been out in the cold all afternoon. *Snap!* So now I can't even close the bag all the way anymore ... g. Is there any way to replace these little black plastic latch buggers, short of getting a whole new bag? (Then again, those new Camo print bags look pretty good ... ) - Greg
Re: (313) The right download format
> > I would be very interested to hear any ideas to work around this problem. I have an idea. Maybe instead of transmitting the data, they could store it on some kind of disc. And then just sell that disc to the public... ;) > > Tosh >
RE: (313) final scratch
> > the counter-intuitive part of mixing is tuning your perception to two > different streams of audio at the same time. statements like this sounds a lot like people who used to say it was un-natural for people to listen to music made by machines. something isn't un-natural just because you're not used to it. > > -> Kids are cool with it and they don't give a frig about all > -> the gubbings, > -> kinda like my old man moaning about having to buy CD's - > -> it's over...As cool > -> as I think records are the next generation don't care and > -> you won't make > -> them either... > > well your kids are cool with it because it's free (and seen as > rebelious) at the moment. when the music industry have all this locked > down (and let's face it they are getting there) and people are paying 15 > quid (usual CD price) to download just data then they may face some > resistance. > > robin... > > > > > > > > > > -> Martin > -> > -> --- > -> Incoming mail is certified Virus Free. > -> Checked by AVG anti-virus system (http://www.grisoft.com). > -> Version: 6.0.564 / Virus Database: 356 - Release Date: 19/01/2004 > -> > -> > >
RE: (313) final scratch (fwd)
> the main hurdle to overcome is that people (myself included i guess) > like to get something tangible for their money, not just bits on a disk > (which could fail)i suppose one way aroud this is to make sure that > when you buy the tune in the digital format you want you effectively > have a license that goes with it so that you can download the tune > again. But your records could always get scratched. > > > robin... > >
RE: (313) final scratch
This has me thinking about what music means to people today - seems to be more of a commodity than a communication between two or more living beings All the digital formats remove parts of the sound spectrum and change the sound of the music - some may say it's crisper but the human ear isn't designed for it I would propose that we don't react the same way, on a physical level, to digital vs analogue sound. Our ears are designed by nature to take in all of the sound in the environment - ambient and active. What I don't understand is why people want to have less compression on their formats but still think that digital is the wave of the future. If you want less compression then just use analogue sound sources. That to me is saying that analogue is the best because it's the closest recording to actually being there but we're going to cut out more of the spectrum because it's the way forward. Digital is convenient for producing music but it's no where near analogue for reproduction. It never will be. Why are we allowing ourselves to be led by the Pied Piper of the established music industry toward more music as commodity? MEK "robin" <[EMAIL PROTECTED]To: "'Martin'" <[EMAIL PROTECTED]>, <[EMAIL PROTECTED]>, ctric.com><313@hyperreal.org> cc: 02/10/04 07:34 AMSubject: RE: (313) final scratch -> Single sales are now the lowest they have ever been, in fact -> I was in a -> studio last week and the first thing they knocked out wasn't -> a rough mix, it -> was a fcuking ringtone! nevermind the death of techno...this is the death of music! robin...
(313) Chicago TRAX mix
http://www.acidmixes.com/trax.mp3 Don't need a tracklist, just need to know it's an hour of unmittigated chicago joy. Usual suspects, adonis, phuture, virgo, jungle wonz etc enjoy placid www.acid-house.net
(313) UR - Unexploitable. UR bags - Not Unbreakable.
OK - I know several of you out there have the same black UR record bag as I do. Over the last couple of years I've broken 3 out of the 4 "prongs" on the 2 latches that hold the bag closed when clicked into place - the last one broke off 2 weeks ago in Berlin, after I tried to open the bag after having been out in the cold all afternoon. *Snap!* So now I can't even close the bag all the way anymore ... g. Is there any way to replace these little black plastic latch buggers, short of getting a whole new bag? (Then again, those new Camo print bags look pretty good ... ) - Greg
RE: (313) tresor meets apple
>so as there are a lot of independent label runners on this list who >might be considering digital distribution what format do you think >digital releases should be released in? 12", 10", or even 7" is good ;) MEK
RE: (313) The right download format
> -Original Message- > From: Tosh Cooey [mailto:[EMAIL PROTECTED] > Sent: 10 February 2004 16:10 > > I would be very interested to hear any ideas to work around > this problem. What I'd suggest is that the cost of downloading a track (one cent per megabyte) is very much subject to variation. The larger an operation you run, the lower your bandwidth costs probably are on a per-meg basis. Also, bandwidth costs tend to decrease over time in a similar fashion to the way CPU power becomes cheaper year on year, so in the medium term the cost of downloading one meg of data could be expected to decrease fairly significantly. Once you drop down to much lower costs-per-meg, the commerical model would work a lot better. Brendan
Re: (313) The right download format
> It's also more risky. If you are downloading your 40 megabyte "Lossless" song > and halfway through the connection breaks, then it has to be downloaded again, > adding 20 cents to the cost. And we know that connections break often enough > for this to be a problem. > > I would be very interested to hear any ideas to work around this problem. Maybe you could somehow force people to use resumable download managers. Songs could be distributed using Bit Torrent software which is free to download. All you would have to do then is email the customer small Bit Torrent Files and they could download the tracks at will and stop and resume anytime.
Re: (313) RIAA and mp3 downloads (was RE: (313) final scratch)
>FWIW, a person I know works for a major label and is quite heavily >involved with that label's anti-p2p efforts. He tells me that while the >majors are confident that the next few years will see legitimate mp3 >services eclipse the illegal ones in terms of visibility and prominence, >they have effectively "given up" on a certain generation of listeners, >who they don't think they'll ever really wean away from the illegal >services (which they know they'll never completely vanquish). Before I started downloading anything, I would see stats saying that people who dl their music actually have been shown to buy more then people who don't. Now of course I read that and thought "the fools have their heads in their collective arses". Ever since grabbing soulseek for myself (to dl mix sets) I've started to realize that the tracks and records I've ended up dl'ing I've also bought. I've 'discovered' several new ARTISTS and LABELS because of file sharing. I've picked up on many older Bands and Artists that I probably would not ever have heard before. I now use file sharing to find records that I then try to hunt down (and buy). I guess what I'm trying to say is that the record companies giving up on my generation because they don't think we'll ever generate any profit for themis a mistake. Does anyone know if these record companies have done any independant studies on the subject and if so are the findings online somewhere? I can see them 'ditching' a generation like that if they were only listening to what the RIAA tells them but I think they would be surpirsed if they checked up on it themselves (assuming they haven't already!?). Trevor Wilkes
Re: (313) The right download format
> sale. Suddenly that 99 cent song you just bought has a cost of 50 cents. > Split > that 50/50 with the artist and everyone makes 25 cents. As you can see nobody > is going to get rich any time soon. Read on fella... http://www.downhillbattle.org/itunes/
RE: (313) tresor meets apple
> Tresor still pushes boundaries it has to be admitted, towards > that thin line > between disturbing noise and music: E.g. that Mover - > 'Frontal Frustration' > LP. In what sense ? haven't even heard of that record Gwendal
RE: (313) The right download format
> It's also more risky. If you are downloading your 40 > megabyte "Lossless" song > and halfway through the connection breaks, then it has to be > downloaded again, > adding 20 cents to the cost. And we know that connections > break often enough > for this to be a problem. Can't you simply resume your file ? most download managers allow it, and so do FTPs and Soulseek... interesting take on the cost though, I didn't think it would be that expensive to transfer files ! Gwendal
RE: (313) tresor meets apple
And would this be the least, 'socially aceptable' (you know what I mean, I hope) music which Apple has licensed? I don't think anything non-electronic counts really. Tresor still pushes boundaries it has to be admitted, towards that thin line between disturbing noise and music: E.g. that Mover - 'Frontal Frustration' LP. So if true, I think this would be a noteworthy development. Next stop Merzbow! k >-Original Message- >From: Dan Sicko [mailto:[EMAIL PROTECTED] >Sent: Tuesday, February 10, 2004 1:04 PM >To: 313@hyperreal.org >Subject: (313) tresor meets apple > > >Looks like their catalog has begun to make it onto the Apple Music >Store! > >-d > >
(313) The right download format
So this isn't directly 313 but close enough. Martin said: "But I do feel this is to the advantage of the smaller player like Warp, but look who they have to deal with as well, US - 192K bitrate!!! Up yours " So what's the best balance between cost and quality? The problem is purely economic. Data costs money to send, about a cent for one megabyte. So to sell one MP3 file of eight megabytes (a typical five minute track at 190kbps) costs eight cents purely in data costs. Add on the cost of maintaining the website, and the cost of making sure that the artist gets their share of the sale. Suddenly that 99 cent song you just bought has a cost of 50 cents. Split that 50/50 with the artist and everyone makes 25 cents. As you can see nobody is going to get rich any time soon. Now using a lossless codec will reduce the file size maximum by 50%, this is the best case. So the same song above suddenly is 40 megabytes, and costs 40 cents to transfer, which means that the 99 cent song actually costs 86 cents. As you can see it's more expensive, so you have to charge $1.50 for the song, but that's a lot of money for one song, especially when people think about how much a CD cost. One song $1.50, ten songs on a CD, that's still $15, same price as a CD, people will be pissed that you are trying to rip them off. It's also more risky. If you are downloading your 40 megabyte "Lossless" song and halfway through the connection breaks, then it has to be downloaded again, adding 20 cents to the cost. And we know that connections break often enough for this to be a problem. I would be very interested to hear any ideas to work around this problem. Tosh
(313) RIAA and mp3 downloads (was RE: (313) final scratch)
> We're way off topic now (i'll be on topic by the end of this mail so > bear with me). The losses the companies attribute to > piracy/p2p internet downloads are way off target anyway, this > (19billion) is probably a RIAA figure. It is as far as I'm aware - I think it's based on an estimate for the number of tracks downloaded through p2p networks over the last year, alongside the assumption that *every track downloaded would have actually been a CD album sale if p2p networks didn't exist*, which I think is where the figure really falls down. For example, you could apply a similar logic to show how radio stations have "lost" trillions of dollars for the RIAA in the last few decades, on the assumption that each time a listener heard a track on the radio the RIAA basically lost one album sale. It completely discounts the fact that a lot of people download tracks they wouldn't have bought anyway; it discounts the fact that a lot of people buy CDs they wouldn't have bought if they *hadn't* heard one or more of the tracks over p2p first; so, all in all, it's a "sexed-up" figure alright! FWIW, a person I know works for a major label and is quite heavily involved with that label's anti-p2p efforts. He tells me that while the majors are confident that the next few years will see legitimate mp3 services eclipse the illegal ones in terms of visibility and prominence, they have effectively "given up" on a certain generation of listeners, who they don't think they'll ever really wean away from the illegal services (which they know they'll never completely vanquish). That generation is the one that's university-age now, which has never really known a world where you *have* to pay for music. Younger generations will, in theory, grow up accustomed to using paid mp3 services; older generations, like the late-20s/early-30s demographic that makes up the bulk of this list, will always have a sense of "guilt" about free music which will make them go back to buying music on physical media or use paid services instead. That's what I'm told anyway... Brendan
Re: (313) final scratch
10/2/04 3:49 PM [EMAIL PROTECTED] > -> They know they've lost and the only way is to prosecutes > -> individuals - last > -> tactic - fear. > -> > -> 19 billion lost vs 1.25 made, my accountant would say that's > -> NOT a fair > -> amount. > This is a figure from a independent professional report, available from Andersons for 30K if your interested - do you not believe anything dude? I give up... > > Question: when you pay to set up the Dust Club label download site > (servers, ISP, bandwidth, all the credit card links etc etc) will you be > happy with just say 10 downloads and then seeing the releases all over > the p2p networks for nowt. In some sense you could write that off as > promotional losses but it isn't sustainable is it? > > And now we're almost back on topic as this applies to many of the labels > that have a prescence on this list that might be considering digital > distribution. You have to be honest, how the hell do you control it - answer you can't. I'll just ask people to be as honest as they can be and help support the label and the artist. Martin
Re: (313) final scratch
sorry to be a t**t, but I had to laugh... >1.25 billion made its a rum do when you're only making that much huh?! but, anyway, thats nothing to do with anything, so carry on! btw, Martin, that report you mentioned, is that available on the internet or anything, might help me understand all this stuff a bit better. anyway.. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
(313) final scratch
-> They know they've lost and the only way is to prosecutes -> individuals - last -> tactic - fear. -> -> 19 billion lost vs 1.25 made, my accountant would say that's -> NOT a fair -> amount. We're way off topic now (i'll be on topic by the end of this mail so bear with me). The losses the companies attribute to piracy/p2p internet downloads are way off target anyway, this (19billion) is probably a RIAA figure. For example, typically RIAA say that a duplication factory containing 10 8x speeed duplicators is equivalent to a dupliaction factory with 80 cd duplicators. They get figures from that. Their figures for p2p stuff are also similarly skewed. They are playing a political game and need big figures to persuade governments to do something. I don't believe what the RIAA say and i thought you'd have trouble swallowing it too. -> What I said is kids don't care, and with big money to be -> made, it aint some -> fat geeky kid who's making the bucks in the playground fella. Not sure what you mean by this but since when have kids cared? Kids didn't care in the 70s when "home taping is killing music" stickers were all over the place, the big players then came out with CD to rip us off with. Now they've wringed all they can out of that particular technology, they've just resurrected the home taping monster in the form of the internet and blamed the loss in sales of their mediocre product on that.just in time for internet downloads. The RIAA/music industry just needed the media furure against illegal p2p to get the government to allow them to go after ISPs/individuals. Fear works, our culture is based on it. You are right though, there is big money to be made and there is no way the RIAA are going to let that slip. As much as the concept of free music appeals to my anachistic side i can't see it happening for any length of time. Question: when you pay to set up the Dust Club label download site (servers, ISP, bandwidth, all the credit card links etc etc) will you be happy with just say 10 downloads and then seeing the releases all over the p2p networks for nowt. In some sense you could write that off as promotional losses but it isn't sustainable is it? And now we're almost back on topic as this applies to many of the labels that have a prescence on this list that might be considering digital distribution. robin...
(313) Aphex on Bleep
Anyone else noticed that most of his stuff has disappeared?
Re: (313) final scratch
10/2/04 2:34 PM [EMAIL PROTECTED] > -> Thing is, most aren't paying for it - now that it's > -> software, its wide open > -> and no amount of encryption or copyright protection will > -> save them - people > -> aren't paying, fact... > > 12 months ago i'd have agreed with you there martin. at this point in > time tho i'm not sure the big players have lost this battle. i mean look > at the success of iTMS. granted the kids out there who are tech-savvy > enough to go illegal p2p might still continue (like people ripping > copies of CDs and us lot taping lps as kids) but the majority of people > just want the easy fix and are willing to pay a fair amount (60p a tune > on iTMS)... Crikey do I have to post up the whole of the 990 page report :) Your not agreeing with me - I guess Sony, Universal, Warners and EMI are wrong then!They should have just said so, would have saved me sometime :) They know they've lost and the only way is to prosecutes individuals - last tactic - fear. 19 billion lost vs 1.25 made, my accountant would say that's NOT a fair amount. What I said is kids don't care, and with big money to be made, it aint some fat geeky kid who's making the bucks in the playground fella.
Re: (313) dizzierascal/m.dear anyone go?
I agree with Jason - the sound for Dizzee's set kind of sucked - but I thought his delivery more than made up for it. In addition to five or six album tracks, he had several a capella and a few freestyles over trad. hip hop beats. I'm also impressed that D. and his crew (sideman and dj) didn't mess around with too much warmup of the crowd. It seemed like the crowd was only around 70-80% fired up at the start, which, I'm sure, is significantly less than the last time they played out in the UK. If they had been messing around with the call and response that seems to bog down the start of so many hip hop shows interest may have waned. Anyway, that part of the show was great. I didn't stay for Matt Dear, mainly because I was quite disappointed the last time I saw him, back in December I think, at Filter 14. The space was really impressive, quite large, and should be a great spot for the Mayer and Superpitcher show, as Jason mentioned. Funkstorung are playing there Thursday, and Ken Ishii is in town Sunday at the old Twilo, Spirit NY. Busy weekend! Nick
RE: (313) final scratch
-> Thing is, most aren't paying for it - now that it's -> software, its wide open -> and no amount of encryption or copyright protection will -> save them - people -> aren't paying, fact... 12 months ago i'd have agreed with you there martin. at this point in time tho i'm not sure the big players have lost this battle. i mean look at the success of iTMS. granted the kids out there who are tech-savvy enough to go illegal p2p might still continue (like people ripping copies of CDs and us lot taping lps as kids) but the majority of people just want the easy fix and are willing to pay a fair amount (60p a tune on iTMS)... -> But I do feel this is to the advantage of the smaller player -> like Warp, but -> look who they have to deal with as well, US - 192K -> bitrate!!! Up yours :) :) -> There's just no pleasing us I reckon. that's why we're a niche robin...
RE: (313) tresor meets apple
two threads coming together at the same time... so as there are a lot of independent label runners on this list who might be considering digital distribution what format do you think digital releases should be released in? high bit rate lossy compressed format (mp3/ogg/aac) or full width wavs/aiffs? i favour the latter. i have the bandwidth tho. robin... -> Too bad the quality offered by Apple is still way below enjoyable or -> even playable :( Until the point they start selling music -> encoded with -> reasonable codecs in a file format that can be used by any -> application i -> can only say: -> -> IT SUCKS. -> -> Even if the entire 313 music history would be available there. -> -> Thx for listening, -> -> Ronny -> -> > -Original Message- -> > From: jonathan morse [mailto:[EMAIL PROTECTED] -> > Sent: Tuesday, February 10, 2004 2:34 PM -> > To: Dan Sicko; 313@hyperreal.org -> > Subject: Re: (313) tresor meets apple -> > -> > -> > did you get a press release or is checking the iTMS the first -> > thing you do every tuesday as well? =) -> > -> > it will be interesting to see what other labels and artists -> > start distributing through the service, and how long before -> > they start to do so. -> > -> > ive got my fingers crossed for perlon, playhouse and kompakt. -> > -> > -> > > From: Dan Sicko <[EMAIL PROTECTED]> -> > > Date: Tue, 10 Feb 2004 08:04:01 -0500 -> > > To: 313@hyperreal.org -> > > Subject: (313) tresor meets apple -> > > -> > > Looks like their catalog has begun to make it onto the -> Apple Music -> > > Store! -> > > -> > > -d -> > > -> > -> -> --- -> Incoming mail is certified Virus Free. -> Checked by AVG anti-virus system (http://www.grisoft.com). -> Version: 6.0.564 / Virus Database: 356 - Release Date: 19/01/2004 -> ->
Re: (313) final scratch
>There's just no pleasing us I reckon. well, thats for sure. no, yeah, I get what you're saying now. I thought you were mis-understanding me and I'm wound up as it is today. but anyway alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) final scratch
-> >well your kids are cool with it because it's free (and seen as -> >rebellious) at the moment. when the music industry have all -> this locked -> >down (and let's face it they are getting there) and people -> are paying 15 -> >quid (usual CD price) to download just data then they may face some -> >resistance. -> -> Disagree, they don't know any different and more to the -> point they don't -> really care - tough but that's the way they are. They don't see it as -> rebellion at all - they don't give a toss about it - they -> don't even think about it. -> One album or 15 Albums on a Dvd for a fiver - which one do -> you think they go -> for. you're not disagreeing with me, at the moment it's like this and in a year or so they'll have shut down any way to get mainstream music from P2P networks and sony will be selling you your Dizzee Rascal CD via their CocaCola branded site as Windows media files for 15 quid -> As much as it pains me, we just have to move on... well i might agree with you there but the point is that vinyl/dj culture, whilst approaching mainstream over the last few years, doesn't quite conform to the mainstream point of view. so when we move on it may be to a different place to where the mainstream moves on to. robin...
Re: (313) final scratch
>but it always has been a tiny > majority. and rest assured the large scale music industry will find a way > to sell their products to the kids and collect the revenues. whether this > is via mp3 or whatever downloadable format, or via a hard copy of > something, I have no idea, but they'll still be consuming it and paying for > it. > You seem to agree with me on most points but you have to understand how the majors work, because they influence most things, they've lost control of "their" product and profit. I've read the reports, they are very scary and do confirm what I'm saying - Some kids will always be like us but the market at the moment is 9-12yr girls who buy from Woolworth's - now you know why the charts are so sh*te. Thing is, most aren't paying for it - now that it's software, its wide open and no amount of encryption or copyright protection will save them - people aren't paying, fact... But I do feel this is to the advantage of the smaller player like Warp, but look who they have to deal with as well, US - 192K bitrate!!! Up yours :) There's just no pleasing us I reckon. I wish it wasn't true, but sadly it is... Martin
RE: (313) tresor meets apple
Too bad the quality offered by Apple is still way below enjoyable or even playable :( Until the point they start selling music encoded with reasonable codecs in a file format that can be used by any application i can only say: IT SUCKS. Even if the entire 313 music history would be available there. Thx for listening, Ronny > -Original Message- > From: jonathan morse [mailto:[EMAIL PROTECTED] > Sent: Tuesday, February 10, 2004 2:34 PM > To: Dan Sicko; 313@hyperreal.org > Subject: Re: (313) tresor meets apple > > > did you get a press release or is checking the iTMS the first > thing you do every tuesday as well? =) > > it will be interesting to see what other labels and artists > start distributing through the service, and how long before > they start to do so. > > ive got my fingers crossed for perlon, playhouse and kompakt. > > > > From: Dan Sicko <[EMAIL PROTECTED]> > > Date: Tue, 10 Feb 2004 08:04:01 -0500 > > To: 313@hyperreal.org > > Subject: (313) tresor meets apple > > > > Looks like their catalog has begun to make it onto the Apple Music > > Store! > > > > -d > > >
Re: (313) final scratch
>This will always be the way but its not how the mass market works I'm >afraid, you can't force people at gun point... well, yeah, I was making the point that I think there will still be kids buying stuff coming through, I didnt mean in a mass-market kind of sense. I'm talking about it in relevance to us/the list. and, while numbers will obviously diminish as time goes on, there will always be people who want records, or cd's of this music. >Disagree, they don't know any different and more to the point they don't >really care - tough but that's the way they are. They don't see it as >rebellion at all - they don't give a toss about it - they don't even think >about it. this wasnt in reply to my comment, but I think you're generalising a whole generation. There's as many people of our generation who couldnt give a toss either, a copied tape or cd is more than enough for them - or just listening to the radio. Of course the majority of kids are like this - but, what I was trying to say is that within that generation, there's a new generation of kids who will care about music as a passion as we do. admittedly, its a really tiny minority, but it always has been a tiny majority. and rest assured the large scale music industry will find a way to sell their products to the kids and collect the revenues. whether this is via mp3 or whatever downloadable format, or via a hard copy of something, I have no idea, but they'll still be consuming it and paying for it. alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) final scratch
I recently started using Ableton Live next to Traktor (FS), Vinyls and Buzztracker. The freedom that comes along with this setup is pretty genius. The only thing i miss right now are some Kaosspads II and another set of arms/hands :) The big thumb down of this setup: It needs too much tablespace for the perfect fun-setup (including 2 oct keyboard and drehbank). Btw, when i started releasing music on the internet in '95 i was dreaming about something like Final Scratch. It's also a good opportunity to play good and fresh music that the public doesn't know. Think about it. Ronny
Re: (313) tresor meets apple
you got it. over coffee (not pepsi, I'm not that much of an Apple shill). :P -d On Feb 10, 2004, at 8:34 AM, jonathan morse wrote: checking the iTMS the first thing you do every tuesday as well? =)
RE: (313) final scratch
-> Single sales are now the lowest they have ever been, in fact -> I was in a -> studio last week and the first thing they knocked out wasn't -> a rough mix, it -> was a fcuking ringtone! nevermind the death of techno...this is the death of music! robin...
(313) Villalobos contact
Hello list, Does anybody have a direct contact for Ricardo Villalobos? Hit me back privately. Thanks in advance! John
Re: (313) tresor meets apple
did you get a press release or is checking the iTMS the first thing you do every tuesday as well? =) it will be interesting to see what other labels and artists start distributing through the service, and how long before they start to do so. ive got my fingers crossed for perlon, playhouse and kompakt. > From: Dan Sicko <[EMAIL PROTECTED]> > Date: Tue, 10 Feb 2004 08:04:01 -0500 > To: 313@hyperreal.org > Subject: (313) tresor meets apple > > Looks like their catalog has begun to make it onto the Apple Music > Store! > > -d >
Re: (313) final scratch
10/2/04 1:15 PM [EMAIL PROTECTED]@uk.pwc.com > >> Kids are cool with it and they don't give a frig about all the gubbings, >> kinda like my old man moaning about having to buy CD's - it's over...As > cool >> as I think records are the next generation don't care and you won't make >> them either... > > I reckon I'm not that sure about that. > I think that a lot of kids still buy cd's and will continue to do so. My > mates kids download stuff from the net, but still save their pocket money > to buy cd's with. I also think that within the next generation of kids, > there will be some that want to buy records. There will be some kids out > there who get capitivated just as we did, and want the record. My mate > works in a shop in Manchester, and you see new kids becoming regular > customers all the time. Single sales are now the lowest they have ever been, in fact I was in a studio last week and the first thing they knocked out wasn't a rough mix, it was a fcuking ringtone! > but, I might have read you wrong, I guess in general the majority won't, > but I think there'll still be a niche market. Also, I know lads who are mad > for buying northern soul 7's - they're no older than me, but they were from > a later generation of soul buyers, kind of the same thing. This will always be the way but its not how the mass market works I'm afraid, you can't force people at gun point... >well your kids are cool with it because it's free (and seen as >rebellious) at the moment. when the music industry have all this locked >down (and let's face it they are getting there) and people are paying 15 >quid (usual CD price) to download just data then they may face some >resistance. Disagree, they don't know any different and more to the point they don't really care - tough but that's the way they are. They don't see it as rebellion at all - they don't give a toss about it - they don't even think about it. One album or 15 Albums on a Dvd for a fiver - which one do you think they go for. As much as it pains me, we just have to move on... Martin
RE: (313) final scratch
-> > there is something to be said for the intuitive interface -> of a pair of -> > decks with vinyl on them don't you think? -> -> Not in my case, just seems pointless as I hate backspins and -> only ever -> scratch me rude bits not me records...Wouldn't say it was -> intuitive either, -> more learned through repetition :) possibly yeah, but touching a record to slow it down and pushing it to speed it up are _very_ intuitive ways to manipulate a piece of audio so that you can mix it with another. the counter-intuitive part of mixing is tuning your perception to two different streams of audio at the same time. -> Kids are cool with it and they don't give a frig about all -> the gubbings, -> kinda like my old man moaning about having to buy CD's - -> it's over...As cool -> as I think records are the next generation don't care and -> you won't make -> them either... well your kids are cool with it because it's free (and seen as rebelious) at the moment. when the music industry have all this locked down (and let's face it they are getting there) and people are paying 15 quid (usual CD price) to download just data then they may face some resistance. robin... -> Martin -> -> --- -> Incoming mail is certified Virus Free. -> Checked by AVG anti-virus system (http://www.grisoft.com). -> Version: 6.0.564 / Virus Database: 356 - Release Date: 19/01/2004 -> ->
Re: (313) final scratch
>Kids are cool with it and they don't give a frig about all the gubbings, >kinda like my old man moaning about having to buy CD's - it's over...As cool >as I think records are the next generation don't care and you won't make >them either... I reckon I'm not that sure about that. I think that a lot of kids still buy cd's and will continue to do so. My mates kids download stuff from the net, but still save their pocket money to buy cd's with. I also think that within the next generation of kids, there will be some that want to buy records. There will be some kids out there who get capitivated just as we did, and want the record. My mate works in a shop in Manchester, and you see new kids becoming regular customers all the time. but, I might have read you wrong, I guess in general the majority won't, but I think there'll still be a niche market. Also, I know lads who are mad for buying northern soul 7's - they're no older than me, but they were from a later generation of soul buyers, kind of the same thing. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
RE: (313) final scratch
> -Original Message- > From: Martin [mailto:[EMAIL PROTECTED] > Sent: 10 February 2004 12:55 > > > > there is something to be said for the intuitive interface > > of a pair of decks with vinyl on them don't you think? > > Not in my case, just seems pointless as I hate backspins and only ever > scratch me rude bits not me records...Wouldn't say it was > intuitive either, more learned through repetition :) I have to say, when I used Final Scratch for the first time a couple of weeks ago (and bear in mind that I'm a bit of an Ableton fanatic generally!) I could see definite advantages to it. First off, the sight of a DJ bringing tracks in and out by spinning discs around on turntables is a bit more engaging to watch than someone who's just mucking around behind a laptop screen. When I last played out with Ableton, I used decks as well mainly for that reason. Second off, the *sound* of a DJ bringing tracks in and out by spinning discs around on turntables is also something that is quite important to crowds sometimes. Nudging a track slightly to keep it in time, getting that nice phasing effect of two similar kick drums coming into sync with one another - you really have to go out of your way to do that with Ableton (I've done it, and it does feel quite weird to be going to such lengths to deliberately build in imperfection). However, in the longer run I reckon things like Ableton will prevail. Final Scratch is just like normal DJing, but with a broader selection of tracks and less chance of a hernia; while Ableton isn't really like normal DJing at all if done properly (see reports of Surgeon's set on Saturday), it's something else altogether. Anyway, I reckon that any DJ trying to kit themselves out for the future should remain flexible and not get tied down into using just one tool. Brendan
(313) tresor meets apple
Looks like their catalog has begun to make it onto the Apple Music Store! -d
Re: (313) final scratch
10/2/04 12:49 PM [EMAIL PROTECTED] > > -> Of the two, I would say Ableton offers more advantages than > -> Final Scratch > -> but requires more prep work before a set. I really can't see > -> the point in > -> buying the vinyl side of Final Scratch unless you plan to do > -> some scratching > -> or love doing backspins. > > there is something to be said for the intuitive interface of a pair of > decks with vinyl on them don't you think? Not in my case, just seems pointless as I hate backspins and only ever scratch me rude bits not me records...Wouldn't say it was intuitive either, more learned through repetition :) But like I said I'll use anything, even spoons (see PTV years) > > > -> Also, with MP3's now becoming more available it's only a > -> short matter of > -> time before it's the main way to play out. Why you say, well when you > -> consider that a distributor and shops still make more than > -> the artist it > -> won't be long before artist can sell direct to the punter > -> and make enough to > -> live on without all the hassle and have direct contact and > -> feedback. It's > -> not as far away as you may think. > > having just spent a while converting tunes on vinyl into properly > masterered wavs for software use i can see the benefits of this (well > not the mp3 format maybe but that's another matter), not to mention the > reduced cost and ease of purchase. > > the main hurdle to overcome is that people (myself included i guess) > like to get something tangible for their money, not just bits on a disk > (which could fail)i suppose one way aroud this is to make sure that > when you buy the tune in the digital format you want you effectively > have a license that goes with it so that you can download the tune > again. Kids are cool with it and they don't give a frig about all the gubbings, kinda like my old man moaning about having to buy CD's - it's over...As cool as I think records are the next generation don't care and you won't make them either... Martin
RE: (313) final scratch (fwd)
-> Of the two, I would say Ableton offers more advantages than -> Final Scratch -> but requires more prep work before a set. I really can't see -> the point in -> buying the vinyl side of Final Scratch unless you plan to do -> some scratching -> or love doing backspins. there is something to be said for the intuitive interface of a pair of decks with vinyl on them don't you think? -> Also, with MP3's now becoming more available it's only a -> short matter of -> time before it's the main way to play out. Why you say, well when you -> consider that a distributor and shops still make more than -> the artist it -> won't be long before artist can sell direct to the punter -> and make enough to -> live on without all the hassle and have direct contact and -> feedback. It's -> not as far away as you may think. having just spent a while converting tunes on vinyl into properly masterered wavs for software use i can see the benefits of this (well not the mp3 format maybe but that's another matter), not to mention the reduced cost and ease of purchase. the main hurdle to overcome is that people (myself included i guess) like to get something tangible for their money, not just bits on a disk (which could fail)i suppose one way aroud this is to make sure that when you buy the tune in the digital format you want you effectively have a license that goes with it so that you can download the tune again. robin...
RE: (313) techno LP's
-> > so - what's the best techno LP you have? (as a full listening -> experience) -> -> Reload - "A Collection Of Short Stories". (Still the greatest album -> I've -> ever heard) i forgot thisa classic. the way the the sci-fi story booklet ties in the music is brilliant. robin...
(313) Q's for expats
I am giving strong consideration to relocating overseas due to some recent upheavals in my personal life. im not running away or going on the lam or anything like that, its just that I am once again in a position that something like this would be feasible. I was primarily thinking london or amsterdam but am also considering cologne, berlin or stockholm. I know there are resource sights for wanna-be expats but I was looking for some personal experiences (costs, logistics, employments issues, etc.) feel free to reply privately via email or IM (screen name 'offeweiten') thanks jm
Re: (313) final scratch
Yep Ableton and for added danger he had one shoe lace undone :) 10/2/04 10:21 AM Blackman, Ryan (UKEKT)[EMAIL PROTECTED] > I believe it was Ableton Live, all the way. > > -Original Message- > From: Brendan Nelson [mailto:[EMAIL PROTECTED] > Sent: 10 February 2004 10:17 > To: Bleep43; Thorin Teague; 313@hyperreal.org > Subject: RE: (313) final scratch (fwd) > > > I'm really annoyed that I didn't make it down on Saturday, > considering what I've heard about Surgeon's set that night! > But what I've still not gathered is whether he was using > Ableton Live or if he was just spinning on decks - kind of > sounds as though he was using Ableton, from what people > have been saying about the set... > >> -Original Message- >> From: Bleep43 [mailto:[EMAIL PROTECTED] >> Sent: 09 February 2004 22:02 >> To: Thorin Teague; 313@hyperreal.org >> Subject: Re: (313) final scratch (fwd) >> >> >> It's a major technological breakthrough for the art of DJing, >> so therefore >> it will have both positive and negative aspects. I'm >> seriously considering >> buying it so that I can then start playing all genres of >> music when playing >> out. >> >> Surgeon's set at Split on Saturday in London confirmed to me >> what this can >> do - he has progressed beyond all other techno DJs in the >> genre right now by >> using it to cross-reference what he calls proper techno. It >> was thunderingly >> futuristic, and sounded phenomenal. Derrick May sounded quite lame in >> comparison. >> >> >> >> - Original Message - >> From: "Thorin Teague" <[EMAIL PROTECTED]> >> To: <313@hyperreal.org> >> Sent: Monday, February 09, 2004 9:57 PM >> Subject: (313) final scratch (fwd) >> >> >>> >>> Another good point, but being american and inebriated by >> consumer culture >> as >>> I am, I like to own things. Having a physical piece of wax >> [sometimes] >> with >>> a cute little picture on it, or even just a white label, is >> just fun to >> me. >>> So I still break out in a rash when I think about selling >> off my vinyl. >>> (Plus that I've sold so much cool vinyl that I've had to >> kick myself for.) >>> >>> Carissa Tintinalli writes: >>> I think there's been an interesting economic impact, >> especially for >> those djs who don't or barely make an income from playing out. Final Scratch has allowed a lot of djs I know to sell off >> large chunks >> of their record collections so they could make money to buy >> more records, >> buy gear, press tracks or even simply pay rent. Selling all >> your records >> years ago was considered a sure sign of either retirment or >> insanity. With >> Final Scratch, you can make bank and still keep playing. >>> >>> >>> >>> >> >> > > > > ** > * > Opinions expressed in this email are those of the individual and > not Entergy-Koch Trading Limited or its affiliated companies. > This email and any files transmitted with it, including replies > and forwarded copies (which may contain alterations) subsequently > transmitted from the Company, are confidential and solely for the > use of the intended recipient. It may contain material protected by > attorney-client privilege. If you are not listed on the "To" or "Cc" > lines of the original email (or are not the person responsible for > delivering to an intended recipient), then you are not an intended > recipient and have received this email in error. Any use by an > unintended recipient is strictly prohibited. > > If you have received this email in error please notify the IT manager > by telephone on +44 (0)20 7337 8300 or via email to > [EMAIL PROTECTED], attaching this message. Please > then delete this email and all attachments, and destroy any copies > thereof. Thank you. > ** > * > >
RE: (313) final scratch (fwd)
I believe it was Ableton Live, all the way. -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: 10 February 2004 10:17 To: Bleep43; Thorin Teague; 313@hyperreal.org Subject: RE: (313) final scratch (fwd) I'm really annoyed that I didn't make it down on Saturday, considering what I've heard about Surgeon's set that night! But what I've still not gathered is whether he was using Ableton Live or if he was just spinning on decks - kind of sounds as though he was using Ableton, from what people have been saying about the set... > -Original Message- > From: Bleep43 [mailto:[EMAIL PROTECTED] > Sent: 09 February 2004 22:02 > To: Thorin Teague; 313@hyperreal.org > Subject: Re: (313) final scratch (fwd) > > > It's a major technological breakthrough for the art of DJing, > so therefore > it will have both positive and negative aspects. I'm > seriously considering > buying it so that I can then start playing all genres of > music when playing > out. > > Surgeon's set at Split on Saturday in London confirmed to me > what this can > do - he has progressed beyond all other techno DJs in the > genre right now by > using it to cross-reference what he calls proper techno. It > was thunderingly > futuristic, and sounded phenomenal. Derrick May sounded quite lame in > comparison. > > > > - Original Message - > From: "Thorin Teague" <[EMAIL PROTECTED]> > To: <313@hyperreal.org> > Sent: Monday, February 09, 2004 9:57 PM > Subject: (313) final scratch (fwd) > > > > > > Another good point, but being american and inebriated by > consumer culture > as > > I am, I like to own things. Having a physical piece of wax > [sometimes] > with > > a cute little picture on it, or even just a white label, is > just fun to > me. > > So I still break out in a rash when I think about selling > off my vinyl. > > (Plus that I've sold so much cool vinyl that I've had to > kick myself for.) > > > > Carissa Tintinalli writes: > > > > > I think there's been an interesting economic impact, > especially for > those > > > djs who don't or barely make an income from playing out. > > > > > > Final Scratch has allowed a lot of djs I know to sell off > large chunks > of > > > their record collections so they could make money to buy > more records, > buy > > > gear, press tracks or even simply pay rent. Selling all > your records > years > > > ago was considered a sure sign of either retirment or > insanity. With > Final > > > Scratch, you can make bank and still keep playing. > > > > > > > > > > > > > *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the "To" or "Cc" lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
RE: (313) final scratch (fwd)
I'm really annoyed that I didn't make it down on Saturday, considering what I've heard about Surgeon's set that night! But what I've still not gathered is whether he was using Ableton Live or if he was just spinning on decks - kind of sounds as though he was using Ableton, from what people have been saying about the set... > -Original Message- > From: Bleep43 [mailto:[EMAIL PROTECTED] > Sent: 09 February 2004 22:02 > To: Thorin Teague; 313@hyperreal.org > Subject: Re: (313) final scratch (fwd) > > > It's a major technological breakthrough for the art of DJing, > so therefore > it will have both positive and negative aspects. I'm > seriously considering > buying it so that I can then start playing all genres of > music when playing > out. > > Surgeon's set at Split on Saturday in London confirmed to me > what this can > do - he has progressed beyond all other techno DJs in the > genre right now by > using it to cross-reference what he calls proper techno. It > was thunderingly > futuristic, and sounded phenomenal. Derrick May sounded quite lame in > comparison. > > > > - Original Message - > From: "Thorin Teague" <[EMAIL PROTECTED]> > To: <313@hyperreal.org> > Sent: Monday, February 09, 2004 9:57 PM > Subject: (313) final scratch (fwd) > > > > > > Another good point, but being american and inebriated by > consumer culture > as > > I am, I like to own things. Having a physical piece of wax > [sometimes] > with > > a cute little picture on it, or even just a white label, is > just fun to > me. > > So I still break out in a rash when I think about selling > off my vinyl. > > (Plus that I've sold so much cool vinyl that I've had to > kick myself for.) > > > > Carissa Tintinalli writes: > > > > > I think there's been an interesting economic impact, > especially for > those > > > djs who don't or barely make an income from playing out. > > > > > > Final Scratch has allowed a lot of djs I know to sell off > large chunks > of > > > their record collections so they could make money to buy > more records, > buy > > > gear, press tracks or even simply pay rent. Selling all > your records > years > > > ago was considered a sure sign of either retirment or > insanity. With > Final > > > Scratch, you can make bank and still keep playing. > > > > > > > > > > > > >
RE: (313) final scratch (fwd)
so where you there then Ryan? I never got too see ytou? but then I never got too see alot of people :( -Original Message- From: Blackman, Ryan (UKEKT) [mailto:[EMAIL PROTECTED] Sent: Tue 10/02/2004 09:39 To: 'Bleep43'; Thorin Teague; 313@hyperreal.org Cc: Subject: RE: (313) final scratch (fwd) I thought he was using Ableton Live. -Original Message- From: Bleep43 [mailto:[EMAIL PROTECTED] Sent: 09 February 2004 10:02 To: Thorin Teague; 313@hyperreal.org Subject: Re: (313) final scratch (fwd) It's a major technological breakthrough for the art of DJing, so therefore it will have both positive and negative aspects. I'm seriously considering buying it so that I can then start playing all genres of music when playing out. Surgeon's set at Split on Saturday in London confirmed to me what this can do - he has progressed beyond all other techno DJs in the genre right now by using it to cross-reference what he calls proper techno. It was thunderingly futuristic, and sounded phenomenal. Derrick May sounded quite lame in comparison. - Original Message - From: "Thorin Teague" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Monday, February 09, 2004 9:57 PM Subject: (313) final scratch (fwd) > > Another good point, but being american and inebriated by consumer culture as > I am, I like to own things. Having a physical piece of wax [sometimes] with > a cute little picture on it, or even just a white label, is just fun to me. > So I still break out in a rash when I think about selling off my vinyl. > (Plus that I've sold so much cool vinyl that I've had to kick myself for.) > > Carissa Tintinalli writes: > > > I think there's been an interesting economic impact, especially for those > > djs who don't or barely make an income from playing out. > > > > Final Scratch has allowed a lot of djs I know to sell off large chunks of > > their record collections so they could make money to buy more records, buy > > gear, press tracks or even simply pay rent. Selling all your records years > > ago was considered a sure sign of either retirment or insanity. With Final > > Scratch, you can make bank and still keep playing. > > > > > > *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the "To" or "Cc" lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
RE: (313) techno LP's
You're right, my mistake. N -Original Message- From: FC2 Richards [mailto:[EMAIL PROTECTED] Sent: 10 February 2004 01:53 To: '313@hyperreal.org' Subject: RE: (313) techno LP's Thats funny...The Vision is Waveform Transmission vol 2. Jeff Mills did #'s 1 and 3... or maybe I am just going nuts... Jeff -Original Message- From: Neil Tomlinson [mailto:[EMAIL PROTECTED] Sent: Tuesday, February 10, 2004 9:31 AM To: Matt MacQueen; [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: RE: (313) techno LP's For me, these still sit at the front of my CD rack: The Vision - Waveform Transmission 3, still listen to this nearly every week! Innersphere - Outworks Sabres of Paradise - Septic Cuts N -Original Message- From: Matt MacQueen [mailto:[EMAIL PROTECTED] Sent: 10 February 2004 05:01 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) techno LP's On Feb 9, 2004, at 7:47 AM, [EMAIL PROTECTED] wrote: > so - what's the best techno LP you have? (as a full listening > experience) jeez where to begin.. most of these hold together for me as the "complete package" greater than it's individual tracks: Chateau Flight - Puzzle ! Cim - Reference Robert Hood - Nighttime World pt. 1, Internal Empire Kenny Larkin - Azimuth Detroit Escalator Co. - Soundtrack [313], Black Buildings f.u.s.e. - Dimension Intrusion Plastikman - Musik, and even better Sheet One (yes that's one f*cked up way to spend 70 straight minutes, folks) Jeff Mills - From the 21st Black Dog - Bytes Soul Circut - Don't Spoil The Tension B12 - Electro Soma (well, it's more of a catch-up compilation, but "plays" like an album anyway...) Monolake - Hong Kong, (oooh esp. that last track...), Cinemascope... Sean Deason - Allegory & Metaphor Morgan Geist - The Driving Memoirs Quant - Quantical Quantasm Model 500 - Deep Space Drexciya - The Quest, Grava 4, Harnessed the Storm even... then ultra-chill techno LPs like: Global Communications - 76:14 and Pentamous Metamorphous er however the hell you spell it. Biosphere - Substrata peace -- Matt MacQueen http://SonicSunset.com
(313) Blue (was techno LP's)
Sabres of Paradise - Septic Cuts Oh YES!, speaking of which - how about Blue - 'Mexican Church' on Emmissions? Always wondered about the production on Blue records - it's credited to "Darking/Mann", but that sounds suspiciously like a pseudonym to me, you know, A Dark Man. Hmmm, maybe I need to get out a bit moreanybody know any better? Ta Dan.
RE: (313) techno LP's
Thats funny...The Vision is Waveform Transmission vol 2. Jeff Mills did #'s 1 and 3... or maybe I am just going nuts... Jeff -Original Message- From: Neil Tomlinson [mailto:[EMAIL PROTECTED] Sent: Tuesday, February 10, 2004 9:31 AM To: Matt MacQueen; [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: RE: (313) techno LP's For me, these still sit at the front of my CD rack: The Vision - Waveform Transmission 3, still listen to this nearly every week! Innersphere - Outworks Sabres of Paradise - Septic Cuts N -Original Message- From: Matt MacQueen [mailto:[EMAIL PROTECTED] Sent: 10 February 2004 05:01 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) techno LP's On Feb 9, 2004, at 7:47 AM, [EMAIL PROTECTED] wrote: > so - what's the best techno LP you have? (as a full listening > experience) jeez where to begin.. most of these hold together for me as the "complete package" greater than it's individual tracks: Chateau Flight - Puzzle ! Cim - Reference Robert Hood - Nighttime World pt. 1, Internal Empire Kenny Larkin - Azimuth Detroit Escalator Co. - Soundtrack [313], Black Buildings f.u.s.e. - Dimension Intrusion Plastikman - Musik, and even better Sheet One (yes that's one f*cked up way to spend 70 straight minutes, folks) Jeff Mills - From the 21st Black Dog - Bytes Soul Circut - Don't Spoil The Tension B12 - Electro Soma (well, it's more of a catch-up compilation, but "plays" like an album anyway...) Monolake - Hong Kong, (oooh esp. that last track...), Cinemascope... Sean Deason - Allegory & Metaphor Morgan Geist - The Driving Memoirs Quant - Quantical Quantasm Model 500 - Deep Space Drexciya - The Quest, Grava 4, Harnessed the Storm even... then ultra-chill techno LPs like: Global Communications - 76:14 and Pentamous Metamorphous er however the hell you spell it. Biosphere - Substrata peace -- Matt MacQueen http://SonicSunset.com
Re: (313) Dynarec album
>Also some very strong new stuff from >M>o>S> and Ross 154 too proper looking forward to getting one of these! is this a downbeat thing jason or more club sort of thing? some of the 154 stuff I have is more laidback. thanks! _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
(313) New Dimension 5 12
For all those interested, it should be out this week, if not now. Check www.digital-soul.co.uk and http://www.undercity-072.com/ud/ for more info Apologies if this has been posyed, been having some problems posting to 313 lately Cheers Stewart
RE: (313) final scratch (fwd)
I thought he was using Ableton Live. -Original Message- From: Bleep43 [mailto:[EMAIL PROTECTED] Sent: 09 February 2004 10:02 To: Thorin Teague; 313@hyperreal.org Subject: Re: (313) final scratch (fwd) It's a major technological breakthrough for the art of DJing, so therefore it will have both positive and negative aspects. I'm seriously considering buying it so that I can then start playing all genres of music when playing out. Surgeon's set at Split on Saturday in London confirmed to me what this can do - he has progressed beyond all other techno DJs in the genre right now by using it to cross-reference what he calls proper techno. It was thunderingly futuristic, and sounded phenomenal. Derrick May sounded quite lame in comparison. - Original Message - From: "Thorin Teague" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Sent: Monday, February 09, 2004 9:57 PM Subject: (313) final scratch (fwd) > > Another good point, but being american and inebriated by consumer culture as > I am, I like to own things. Having a physical piece of wax [sometimes] with > a cute little picture on it, or even just a white label, is just fun to me. > So I still break out in a rash when I think about selling off my vinyl. > (Plus that I've sold so much cool vinyl that I've had to kick myself for.) > > Carissa Tintinalli writes: > > > I think there's been an interesting economic impact, especially for those > > djs who don't or barely make an income from playing out. > > > > Final Scratch has allowed a lot of djs I know to sell off large chunks of > > their record collections so they could make money to buy more records, buy > > gear, press tracks or even simply pay rent. Selling all your records years > > ago was considered a sure sign of either retirment or insanity. With Final > > Scratch, you can make bank and still keep playing. > > > > > > *** Opinions expressed in this email are those of the individual and not Entergy-Koch Trading Limited or its affiliated companies. This email and any files transmitted with it, including replies and forwarded copies (which may contain alterations) subsequently transmitted from the Company, are confidential and solely for the use of the intended recipient. It may contain material protected by attorney-client privilege. If you are not listed on the "To" or "Cc" lines of the original email (or are not the person responsible for delivering to an intended recipient), then you are not an intended recipient and have received this email in error. Any use by an unintended recipient is strictly prohibited. If you have received this email in error please notify the IT manager by telephone on +44 (0)20 7337 8300 or via email to [EMAIL PROTECTED], attaching this message. Please then delete this email and all attachments, and destroy any copies thereof. Thank you. ***
Re: (313) techno LP's
Drexciya: Neptune's Lair Killer album! - Original Message - From: "Neil Tomlinson" <[EMAIL PROTECTED]> To: "Matt MacQueen" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Cc: <313@hyperreal.org> Sent: Tuesday, February 10, 2004 9:31 AM Subject: RE: (313) techno LP's > For me, these still sit at the front of my CD rack: > The Vision - Waveform Transmission 3, still listen to this nearly every > week! > Innersphere - Outworks > Sabres of Paradise - Septic Cuts > > N > > > -Original Message- > From: Matt MacQueen [mailto:[EMAIL PROTECTED] > Sent: 10 February 2004 05:01 > To: [EMAIL PROTECTED] > Cc: 313@hyperreal.org > Subject: Re: (313) techno LP's > > > On Feb 9, 2004, at 7:47 AM, [EMAIL PROTECTED] wrote: > > so - what's the best techno LP you have? (as a full listening > > experience) > > jeez where to begin.. most of these hold together for me as the > "complete package" greater than it's individual tracks: > > Chateau Flight - Puzzle ! > Cim - Reference > Robert Hood - Nighttime World pt. 1, Internal Empire > Kenny Larkin - Azimuth > Detroit Escalator Co. - Soundtrack [313], Black Buildings > f.u.s.e. - Dimension Intrusion > Plastikman - Musik, and even better Sheet One (yes that's one f*cked > up way to spend 70 straight minutes, folks) > Jeff Mills - From the 21st > Black Dog - Bytes > Soul Circut - Don't Spoil The Tension > B12 - Electro Soma (well, it's more of a catch-up compilation, but > "plays" like an album anyway...) > Monolake - Hong Kong, (oooh esp. that last track...), Cinemascope... > Sean Deason - Allegory & Metaphor > Morgan Geist - The Driving Memoirs > Quant - Quantical Quantasm > Model 500 - Deep Space > Drexciya - The Quest, Grava 4, Harnessed the Storm even... > > then ultra-chill techno LPs like: > Global Communications - 76:14 and Pentamous Metamorphous er however the > hell you spell it. > Biosphere - Substrata > > > peace > -- > Matt MacQueen > http://SonicSunset.com > > > >
RE: (313) techno LP's
For me, these still sit at the front of my CD rack: The Vision - Waveform Transmission 3, still listen to this nearly every week! Innersphere - Outworks Sabres of Paradise - Septic Cuts N -Original Message- From: Matt MacQueen [mailto:[EMAIL PROTECTED] Sent: 10 February 2004 05:01 To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: Re: (313) techno LP's On Feb 9, 2004, at 7:47 AM, [EMAIL PROTECTED] wrote: > so - what's the best techno LP you have? (as a full listening > experience) jeez where to begin.. most of these hold together for me as the "complete package" greater than it's individual tracks: Chateau Flight - Puzzle ! Cim - Reference Robert Hood - Nighttime World pt. 1, Internal Empire Kenny Larkin - Azimuth Detroit Escalator Co. - Soundtrack [313], Black Buildings f.u.s.e. - Dimension Intrusion Plastikman - Musik, and even better Sheet One (yes that's one f*cked up way to spend 70 straight minutes, folks) Jeff Mills - From the 21st Black Dog - Bytes Soul Circut - Don't Spoil The Tension B12 - Electro Soma (well, it's more of a catch-up compilation, but "plays" like an album anyway...) Monolake - Hong Kong, (oooh esp. that last track...), Cinemascope... Sean Deason - Allegory & Metaphor Morgan Geist - The Driving Memoirs Quant - Quantical Quantasm Model 500 - Deep Space Drexciya - The Quest, Grava 4, Harnessed the Storm even... then ultra-chill techno LPs like: Global Communications - 76:14 and Pentamous Metamorphous er however the hell you spell it. Biosphere - Substrata peace -- Matt MacQueen http://SonicSunset.com
RE: (313) final scratch
>On Tue, 10 Feb 2004, Ryan Snowden wrote: > >> For all those enterprising young minds out there, it's time to >come up with >> a similar version of final scratch and sell it at a cheaper cost >to undercut >> final scratch :) In 5 years time we can't have final scratch dictating >> prices can we? :) How cheap is cheap? FS is now available for GBP300 in the UK (sourced from the States). I think that's reasonable. Anyone wants to know where, hit me back and I'll dig out the address, don't have it to hand. Twop people I know have ordered successfully. Ladies and gentleman, I'm not an agent, have a good day! :-D k
Re: (313) techno LP's
On Feb 9, 2004, at 7:47 AM, [EMAIL PROTECTED] wrote: so - what's the best techno LP you have? (as a full listening experience) jeez where to begin.. most of these hold together for me as the "complete package" greater than it's individual tracks: Chateau Flight - Puzzle ! Cim - Reference Robert Hood - Nighttime World pt. 1, Internal Empire Kenny Larkin - Azimuth Detroit Escalator Co. - Soundtrack [313], Black Buildings f.u.s.e. - Dimension Intrusion Plastikman - Musik, and even better Sheet One (yes that's one f*cked up way to spend 70 straight minutes, folks) Jeff Mills - From the 21st Black Dog - Bytes Soul Circut - Don't Spoil The Tension B12 - Electro Soma (well, it's more of a catch-up compilation, but "plays" like an album anyway...) Monolake - Hong Kong, (oooh esp. that last track...), Cinemascope... Sean Deason - Allegory & Metaphor Morgan Geist - The Driving Memoirs Quant - Quantical Quantasm Model 500 - Deep Space Drexciya - The Quest, Grava 4, Harnessed the Storm even... then ultra-chill techno LPs like: Global Communications - 76:14 and Pentamous Metamorphous er however the hell you spell it. Biosphere - Substrata peace -- Matt MacQueen http://SonicSunset.com
(313) concept
Can anyone give me some more detail on the deal with Richie Hawtin's Concept:96 CD? I remember there being a nice detailed explanation on the m_nus site but I can't seem to find it. -- Be sure and unplug Baby Jesus [EMAIL PROTECTED] before his head melts! AIM:pr0j2501 http://www.dirty.org/~mkb Matt Kane's Brain
Re: (313) Theo --- Adelaide (and Sydney, Newcastle)
[EMAIL PROTECTED] wrote: can't help with adelaide - but anybody know if ticket can be bought in advance for sydney and newcastle. Available from ITM: Sydney: http://www.inthemix.com.au/whatson/buytickets.php?id=11570 Newcastle: http://www.inthemix.com.au/whatson/buytickets.php?id=11851
RE: (313) Theo --- Adelaide (and Sydney, Newcastle)
Don't know about Adelaide either, but he's doing Perth -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, 10 February 2004 12:33 PM To: Sam K Cc: list Subject: Re: (313) Theo --- Adelaide (and Sydney, Newcastle) can't help with adelaide - but anybody know if ticket can be bought in advance for sydney and newcastle. ps. i didn't know that bikers were into theo parrish. if you want a spray to attract bikers just use the wipe on instant sex appeal sold in the bathroms of all good pubs. for repelling you could try pepper spray. but i don't think it works. everytime the police shoot someone they say they sprayed the person with pepper spray first, but it did nothing so they had to shoot. james www.jbucknell.com "Sam K" <[EMAIL PROTECTED] To: "list" <313@hyperreal.org> l.net> cc: (bcc: James Bucknell/ARD/AU/ReadersDigest) Subject: (313) Theo --- Adelaide 10/02/04 04:15 AM Adelaide on sunday 7th march - does anybody know if theo is confirmed for this date... is there anywhere that u can buy anti biker spray? Sam -- Sam K [EMAIL PROTECTED] sub-sequence 2xx 98.3fm -- http://www.fastmail.fm - Consolidate POP email and Hotmail in one place
Re: (313) Theo --- Adelaide (and Sydney, Newcastle)
can't help with adelaide - but anybody know if ticket can be bought in advance for sydney and newcastle. ps. i didn't know that bikers were into theo parrish. if you want a spray to attract bikers just use the wipe on instant sex appeal sold in the bathroms of all good pubs. for repelling you could try pepper spray. but i don't think it works. everytime the police shoot someone they say they sprayed the person with pepper spray first, but it did nothing so they had to shoot. james www.jbucknell.com "Sam K" <[EMAIL PROTECTED] To: "list" <313@hyperreal.org> l.net> cc: (bcc: James Bucknell/ARD/AU/ReadersDigest) Subject: (313) Theo --- Adelaide 10/02/04 04:15 AM Adelaide on sunday 7th march - does anybody know if theo is confirmed for this date... is there anywhere that u can buy anti biker spray? Sam -- Sam K [EMAIL PROTECTED] sub-sequence 2xx 98.3fm -- http://www.fastmail.fm - Consolidate POP email and Hotmail in one place
(313) Theo --- Adelaide
Adelaide on sunday 7th march - does anybody know if theo is confirmed for this date... is there anywhere that u can buy anti biker spray? Sam -- Sam K [EMAIL PROTECTED] sub-sequence 2xx 98.3fm -- http://www.fastmail.fm - Consolidate POP email and Hotmail in one place
(313) playlist WNUR Chicago - 6 Feb 2004 + 30 Jan 2004
Clinically Inclined 6 February 2004 Fridays 10:30pm - 1:00am, 89.3 FM WNUR in Chicago http://SonicSunset.com (download this show, view archives) part one > Matt MacQueen The Connection Machine - Gland - Painless (downLow) Banzai Republic - Gamblin Man (music for dreams) Strafe - Set it Off (Jus Born) 1984 Hotbox - Do You Wanna Dub (Polydor) 1983 Jive Rhythm Trax - 120 BPM - Volume 2 (Jive) 1982 Process - Fiction (Traum) Chip E - Like This (DJ International) 1985 Fingers, Inc. - A Path [Instrumental mix] (DJ International) 1986 Purple Flash - We Can Make It [Darshan Jesrani remix] (Unclassics) Spandau Ballet - Feel the Chant [Instrumental] (Chrysalis) 1981 Antidis - Star You Star Me (Mood Music) Nicky Blue - Oh Samba (Tricks) Melody Boy 2000 - Monotone Fantastique (Gadgets) Black Devil Disco Club - A1 (Rephlex) Peter Richard - Walking In Neon (Ariola) 1983 Severed Heads - Petrol (Nettwerk) 1984 Hardcore Jazz - Traxx (Dance Mania) Cellophane - Music Colours Part 3 [Disco mix] (DID) 1984 Dynarec - The Lost Souls - The Lost Souls (Delsin) The Unknown DJ - Basstronic (DYF) D5 - Formation One - Formation One (Digital Soul) Model 500 - A1 (New Religion) part two > Dr. Siska john braine - shmegly - emoticon sampler 1 (emoticon) quadrant - hyperprism (planet e) joe louis - flying high - back to the beginning (relief) i:cube - tunnel vision (versatile) russ gabriel - agoraphobia - voltage control (input neuron) bandulu - day four (infonet) vainqueur - elevation ii (reduced) (chain reaction) popul vuh - vuh 1978 tube jerk - daddy's in the basement digging gravy (surgeon rmx) (iLL) gys - pike - art d echo (component) exos - u4 - eleventh (force inc) arovane - neel (city centre offices) = Clinically Inclined 30 January 2004 Fridays 10:30pm - 1:00am, 89.3 FM WNUR in Chicago part one > Matt MacQueen b/w selected H.O.T. mixes by MG (sorry no archive of part 1) Morgan Geist - Jersey Chica - Moves (Environ) Mantronix - Fresh Is The Word - The Album (Sleeping Bag) 1985 World Premiere - Share The Night (Breakdown mix) (Easy Street) 1983 Master C&J - Face It (State Street) 1987 Purple Flash - We Can Make It [Darshan Jesrani Rmx] (Environ) The Morning Kids - Baby Powder Dementia (Balihu) Night Aktion - Single Girl (Let's Dance) 1984 Expansives - Life with You (Panama) Wet - That's The Game (STD) 1983 Midnight Star - Midas Touch [extended vocal version] (Solar) 1986 Kelley Polar Quartet - Castrovalva - Recital EP (Environ) Circulation - Emotions Unknown (Balance) part two > Dave Siska download at http://sonicsunset.com/#30jan2004 karafuto - light blue ep (untitled) theo parrish - lost angel (music is...) nu era - 1979 - broken techno (archive) the actors pedantry - house (ampoule) j.m. silk - music is the key (basement key) (rams horn) morgan geist - probs - moves ep (environ) localfields - pico - length scales (zero g sounds) coordinates - in cycles - magnetics (sub static) motor - 7 (audio.nl) paperclip people - remake (basic reshape) (planet e) tobin 01 inigo kennedy - reducer rmx - the secondary (asymmetric) richard bartz - a2 - subway ep (kanzleramt) exium - untitled - expect nothing (tsunami) drax - eurotrash - tales from the mental plane (trope) olivier kaiser & olivier saint-denis - emphasis - square ep (f comm) random xs - frantic formula - frantic formula (djax-up-beats) drexciya - black sea - the journey home (warp) robert hood - a2 - invincible (m-plant) surgeon - midnight club tracks 1 (counterbalance) adonis - no way back (no return part 1 - the advent) (trax uk) peace -- Matt MacQueen http://SonicSunset.com
RE: (313) final scratch
I like their quote... "it may not be the real thing... but at least you're playing with vinyl!" ehehe :) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, 10 February 2004 8:52 AM To: Ryan Snowden Cc: 313@hyperreal.org Subject: RE: (313) final scratch www.mspinky.com On Tue, 10 Feb 2004, Ryan Snowden wrote: > For all those enterprising young minds out there, it's time to come up > with a similar version of final scratch and sell it at a cheaper cost > to undercut final scratch :) In 5 years time we can't have final > scratch dictating prices can we? :) > > Can't be that hard to do to be honest. Different frequency, different > part of the record, real-time 0 latency hardware. Just need to find a > cheap electronics outlet at the end of the day to do all the > mainboards > > -Original Message- > From: Carissa Tintinalli [mailto:[EMAIL PROTECTED] > Sent: Tuesday, 10 February 2004 5:52 AM > To: [EMAIL PROTECTED]; 313@hyperreal.org > Subject: RE: (313) final scratch > > I think there's been an interesting economic impact, especially for > those djs who don't or barely make an income from playing out. > > Final Scratch has allowed a lot of djs I know to sell off large chunks > of their record collections so they could make money to buy more > records, buy gear, press tracks or even simply pay rent. Selling all > your records years ago was considered a sure sign of either retirment > or insanity. With Final Scratch, you can make bank and still keep playing. > > > >From: "Rebekah Farrugia" <[EMAIL PROTECTED]> > >To: <313@hyperreal.org> > >Subject: (313) final scratch > >Date: Mon, 9 Feb 2004 15:23:14 -0600 > > > >I remember about 2 years ago there was a week where there was a lot > >of discussion on the list about final scratch, some ppl liked it, > >some were totally against it and thought that it was going to have > >significant effects of the production of vinyl and DJing, etc. > > > >Now that the technology has become commonplace and has been widely > >accepted i'm wondering what ppl think of it now. Have your opinions > >about it changed now that it is widespread? What kind of an impact > >do you think it has had? The one you anticipated? i'd also love to > >hear any other comments about final scratch and its impact over the > >past few > years. > > > >thanks, > > > >bekka =) > > > > _ > Add photos to your e-mail with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/photos&pgmarket=en-ca&RU=http%3a%2f > %2fjoi n.msn.com%2f%3fpage%3dmisc%2fspecialoffers%26pgmarket%3den-ca > > >
Re: (313) final scratch (fwd)
- Original Message - From: "Martin" <[EMAIL PROTECTED]> To: "Phonopsia" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Cc: "Bleep43" <[EMAIL PROTECTED]>; "Thorin Teague" <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Tuesday, February 10, 2004 12:32 AM Subject: Re: (313) final scratch (fwd) > I wonder if anyone will say Kraftwerk aren't playing "live" - Techno has > always been about using technology to move the floor, people should stop > watch the DJ and get the fcuk down :) Agreed! And they did (except for my friend). ;) Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
(313) greg wilson electrofunk (was re: final scratch (fwd))
thanks for the tip on the greg wilson mixes. for a mix similar in style/period to the greg wilson electrofunk stuff try the red alert/tony humphries mix from 83/84 on deep house pages (on the archive page at the top). oh yeah, according to the radio announcer from 83 it's damn chilly - 5 degree in central park. pretty much what it is now? james www.jbucknell.com mp3 mixes "Martin" <[EMAIL PROTECTED] To: <[EMAIL PROTECTED]> .com>cc: "Bleep43" <[EMAIL PROTECTED]>, "Thorin Teague" <[EMAIL PROTECTED]>, <313@hyperreal.org>, (bcc: James Bucknell/ARD/AU/ReadersDigest) 09/02/04 11:21 Subject: Re: (313) final scratch (fwd) PM Here's one for you as well, Greg Wilson, ground breaking Electro DJ: http://www.electrofunkroots.co.uk/ Watched him play on Saturday night using two decks, a laptop (using two copies of Winamp!) and a old 1/4 inch Revox tape machine, he actual plays the tape machine like a deck, haven't seen that since TG. He rocked the floor all night... Worth a look people. Martin Dust
RE: (313) final scratch
www.mspinky.com On Tue, 10 Feb 2004, Ryan Snowden wrote: > For all those enterprising young minds out there, it's time to come up with > a similar version of final scratch and sell it at a cheaper cost to undercut > final scratch :) In 5 years time we can't have final scratch dictating > prices can we? :) > > Can't be that hard to do to be honest. Different frequency, different part > of the record, real-time 0 latency hardware. Just need to find a cheap > electronics outlet at the end of the day to do all the mainboards > > -Original Message- > From: Carissa Tintinalli [mailto:[EMAIL PROTECTED] > Sent: Tuesday, 10 February 2004 5:52 AM > To: [EMAIL PROTECTED]; 313@hyperreal.org > Subject: RE: (313) final scratch > > I think there's been an interesting economic impact, especially for those > djs who don't or barely make an income from playing out. > > Final Scratch has allowed a lot of djs I know to sell off large chunks of > their record collections so they could make money to buy more records, buy > gear, press tracks or even simply pay rent. Selling all your records years > ago was considered a sure sign of either retirment or insanity. With Final > Scratch, you can make bank and still keep playing. > > > >From: "Rebekah Farrugia" <[EMAIL PROTECTED]> > >To: <313@hyperreal.org> > >Subject: (313) final scratch > >Date: Mon, 9 Feb 2004 15:23:14 -0600 > > > >I remember about 2 years ago there was a week where there was a lot of > >discussion on the list about final scratch, some ppl liked it, some > >were totally against it and thought that it was going to have > >significant effects of the production of vinyl and DJing, etc. > > > >Now that the technology has become commonplace and has been widely > >accepted i'm wondering what ppl think of it now. Have your opinions > >about it changed now that it is widespread? What kind of an impact do > >you think it has had? The one you anticipated? i'd also love to hear > >any other comments about final scratch and its impact over the past few > years. > > > >thanks, > > > >bekka =) > > > > _ > Add photos to your e-mail with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/photos&pgmarket=en-ca&RU=http%3a%2f%2fjoi > n.msn.com%2f%3fpage%3dmisc%2fspecialoffers%26pgmarket%3den-ca > > >
Re: (313) final scratch (fwd)
I wonder if anyone will say Kraftwerk aren't playing "live" - Techno has always been about using technology to move the floor, people should stop watch the DJ and get the fcuk down :) - Original Message - From: "Phonopsia" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; "Martin" <[EMAIL PROTECTED]> Cc: "Bleep43" <[EMAIL PROTECTED]>; "Thorin Teague" <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Tuesday, February 10, 2004 12:14 AM Subject: Re: (313) final scratch (fwd) > - Original Message - > From: <[EMAIL PROTECTED]> > To: "Martin" <[EMAIL PROTECTED]> > Cc: "Bleep43" <[EMAIL PROTECTED]>; "Thorin Teague" <[EMAIL PROTECTED]>; > <313@hyperreal.org> > Sent: Monday, February 09, 2004 10:55 PM > Subject: Re: (313) final scratch (fwd) > > > > Ableton on the other hand has made non-DJs like Brenden Gillan into really > > enjoyable DJs and really good DJs like Surgeon into friggin megamix > > deities. > > Yarr! > > > however- i've not seen surgeon actually play with ableton. is it just him > > and a laptop? o ris he still playing records along with the ableton loops? > > I've seen him four times in the past year now. At ATP he played a Final > Scratch set, and it was fantastically varied. I think also because it was > sort of his UK Final Scratch coming out party (or was it the 2nd time???), > it was all that more mind-blowing for the unexpectedness of it. I saw him > twice this Autumn, once @Werk @ Plastic People playing (I think) a > combination of Final Scratch and Ableton. He had two laptops at any rate, so > it's hard to say if he was using the 2nd laptop for effects or what. That > was probably the most eclectic set he's played of these four. It was also > fantastic. A couple of months later he played Split, and that was an > all-Ableton set. It was probably the most straight-ahead of all of these > sets, but it was also his first time playing an HDJ set at a larger party in > London to a younger audience (well, younger than Plastic People anyway), and > I think he may have played it a bit safer with the track selection, in terms > of not pulling out the madness quite as much as in these other sets. I'm not > sure if his set Saturday was just Ableton or not. I think it probably was > b/c a friend of mine made the snide comment 'you know he's not DJing, > right'? It really didn't matter if he wasn't. It was seriously mind-blowing, > probably the equal of his ATP set. I think the Autechre track count was at > around 4? And you really wouldn't have known it to look at the dancefloor. I > was most surprised by the fact that he worked things in the mix for what > seemed like 4 or 5 minutes at a time, with Autechre on top, and the whole > dancefloor seemed to love it! In fact, I'd say one of the songs that got the > worst reception was Badger Bite! That really threw me for a loop. ;) > > I'm not convinced it's the solution to tired DJing just yet, but I think > that in the right hands it can be magical, and in the almost-right hands it > can enable an escape from genre constraints. I've always loved to play as > many different styles as I can work into a beat matched format, so if > Ableton helps DJs feel like they can do that better, then I'm perfectly > happy with it! > > If Surgeon hasn't been the best techno DJ on the planet for the last year, > then his equal hasn't visited London recently. > > Tristan > === > http://www.phonopsia.co.uk > [EMAIL PROTECTED] > > > >
(313) more techno LPs
some fav techno albums Move D -- Kunstoff Dan Curtin -- The Silicon Dawn Detroit Escalator Company -- Soundtrack 313, Black Buildings The Black Dog -- Temple of Transparent Balls, Bytes (and all the rest)
Re: (313) final scratch
http://www.rane.com/scratch.html Not cheap but competition should drive prices down. On Feb 9, 2004, at 6:48 PM, Ryan Snowden wrote: For all those enterprising young minds out there, it's time to come up with a similar version of final scratch and sell it at a cheaper cost to undercut final scratch :) In 5 years time we can't have final scratch dictating prices can we? :) Can't be that hard to do to be honest. Different frequency, different part of the record, real-time 0 latency hardware. Just need to find a cheap electronics outlet at the end of the day to do all the mainboards -Original Message- From: Carissa Tintinalli [mailto:[EMAIL PROTECTED] Sent: Tuesday, 10 February 2004 5:52 AM To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) final scratch I think there's been an interesting economic impact, especially for those djs who don't or barely make an income from playing out. Final Scratch has allowed a lot of djs I know to sell off large chunks of their record collections so they could make money to buy more records, buy gear, press tracks or even simply pay rent. Selling all your records years ago was considered a sure sign of either retirment or insanity. With Final Scratch, you can make bank and still keep playing. From: "Rebekah Farrugia" <[EMAIL PROTECTED]> To: <313@hyperreal.org> Subject: (313) final scratch Date: Mon, 9 Feb 2004 15:23:14 -0600 I remember about 2 years ago there was a week where there was a lot of discussion on the list about final scratch, some ppl liked it, some were totally against it and thought that it was going to have significant effects of the production of vinyl and DJing, etc. Now that the technology has become commonplace and has been widely accepted i'm wondering what ppl think of it now. Have your opinions about it changed now that it is widespread? What kind of an impact do you think it has had? The one you anticipated? i'd also love to hear any other comments about final scratch and its impact over the past few years. thanks, bekka =) _ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/photos&pgmarket=en- ca&RU=http%3a%2f%2fjoi n.msn.com%2f%3fpage%3dmisc%2fspecialoffers%26pgmarket%3den-ca
Re: (313) final scratch (fwd)
- Original Message - From: <[EMAIL PROTECTED]> To: "Martin" <[EMAIL PROTECTED]> Cc: "Bleep43" <[EMAIL PROTECTED]>; "Thorin Teague" <[EMAIL PROTECTED]>; <313@hyperreal.org> Sent: Monday, February 09, 2004 10:55 PM Subject: Re: (313) final scratch (fwd) > Ableton on the other hand has made non-DJs like Brenden Gillan into really > enjoyable DJs and really good DJs like Surgeon into friggin megamix > deities. Yarr! > however- i've not seen surgeon actually play with ableton. is it just him > and a laptop? o ris he still playing records along with the ableton loops? I've seen him four times in the past year now. At ATP he played a Final Scratch set, and it was fantastically varied. I think also because it was sort of his UK Final Scratch coming out party (or was it the 2nd time???), it was all that more mind-blowing for the unexpectedness of it. I saw him twice this Autumn, once @Werk @ Plastic People playing (I think) a combination of Final Scratch and Ableton. He had two laptops at any rate, so it's hard to say if he was using the 2nd laptop for effects or what. That was probably the most eclectic set he's played of these four. It was also fantastic. A couple of months later he played Split, and that was an all-Ableton set. It was probably the most straight-ahead of all of these sets, but it was also his first time playing an HDJ set at a larger party in London to a younger audience (well, younger than Plastic People anyway), and I think he may have played it a bit safer with the track selection, in terms of not pulling out the madness quite as much as in these other sets. I'm not sure if his set Saturday was just Ableton or not. I think it probably was b/c a friend of mine made the snide comment 'you know he's not DJing, right'? It really didn't matter if he wasn't. It was seriously mind-blowing, probably the equal of his ATP set. I think the Autechre track count was at around 4? And you really wouldn't have known it to look at the dancefloor. I was most surprised by the fact that he worked things in the mix for what seemed like 4 or 5 minutes at a time, with Autechre on top, and the whole dancefloor seemed to love it! In fact, I'd say one of the songs that got the worst reception was Badger Bite! That really threw me for a loop. ;) I'm not convinced it's the solution to tired DJing just yet, but I think that in the right hands it can be magical, and in the almost-right hands it can enable an escape from genre constraints. I've always loved to play as many different styles as I can work into a beat matched format, so if Ableton helps DJs feel like they can do that better, then I'm perfectly happy with it! If Surgeon hasn't been the best techno DJ on the planet for the last year, then his equal hasn't visited London recently. Tristan === http://www.phonopsia.co.uk [EMAIL PROTECTED]
