Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
On Mon, 22 Oct 2001, Scotto wrote: - Original Message - From: Berislav [EMAIL PROTECTED] but please guitar, drums, what is next...banjo. sorry already been done kent williams samples a banjo in one of his tunes. That track Cotton Eyed Joe did it first. I did sample Sandy Bull performing his arrangement of Carmina Burana, if that makes it any more acceptable ... - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
but please guitar, drums, what is next...banjo. sorry already been done kent williams samples a banjo in one of his tunes. Anyone remember The Grid? What about 'Cotton Eyed Joe'? The Shaman? All classic and bad examples of banjo use in electronic music. I want to hear Kent's tune though. Cheers todd - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
bad banjo use??? maybe some people should try other instruments...how about a hard acid track with an accordian making the bass line. that would be tight. maybe a washboard for percussionary enhancement (is that a real phrase???) oh, and a picalo to use during the break down... damn, i am going to be rich AND famous with these ideas jeff -Original Message- From: M. Todd Smith [SMTP:[EMAIL PROTECTED] Sent: Monday, October 22, 2001 4:14 PM To: Detroits Finest List Subject: Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere Anyone remember The Grid? What about 'Cotton Eyed Joe'? The Shaman? All classic and bad examples of banjo use in electronic music. I want to hear Kent's tune though. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
Kent williams wrote on Mon, 22 Oct 2001 about following: On Mon, 22 Oct 2001, Scotto wrote: From: Berislav [EMAIL PROTECTED] but please guitar, drums, what is next...banjo. sorry already been done kent williams samples a banjo in one of his tunes. That track Cotton Eyed Joe did it first. i have one house 12 from time before cotton eyed joe with banjo - it's on loaded label but i can't recall the name of the track or ep. i can check it out when i get home if someone's interested. (which i doubt :) I did sample Sandy Bull performing his arrangement of Carmina Burana, if that makes it any more acceptable ... there's one quite cheesy rave track made from carmina burana from around 1991 or so if my memory serves right - it was quite horrible. anyway, its just music, let people sample what they want. and look at the house scene, there's live drummers, guitarists, bassists and so on. how is this relevant to hawtin anymore? on the hawtin subject, i thought the new album is pretty cool. i don't mind it being done the way it's done, megamixes still aren't a new form of art, as i've said earlier on this same subject. let's keep the funk alive, sakke -- The number of Unix installations has grown to 10, with more expected. --The Unix Programmer's Manual, 2nd Edition, June, 1972 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
That track Cotton Eyed Joe did it first. I did sample Sandy Bull performing his arrangement of Carmina Burana, if that makes it any more acceptable ... it wasn`t Cotton eyed joe, i beleive it was RMB with banjo love - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! How advanced is a piece of equipment that can finally do today what certain Detroit Djs could do 12 years ago? Where is the progress in TALENT? All this does is make it easier for djs who lack the ability to do it by hand. Instead of raising the bar, they lowering it and trying to step over. word! I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? That's what techno music is about, RAW SKILL. anything that makes it easier for someone to express tehmselves creatively, like say a computer, is a CRUTCH. it's BULLSHIT. it should be MOCKED. How can some foolish upstart who's not even from detroit, some moron canadian, possibly think he can start calling himself a so-called tecno dj when he uses a COMPUTER? I for one, am shocked an appalled! who's up for a turntable jam session! come to my house in belleville, only in detroit! back and proud, jeff mills - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
IMO- music is all about getting the ideas in your head to a medium from which other people can enjoy it. computers and musical instruments, electronic or acoustic, facilitate this process. -Joe negative-saucer -- R17 is not a fixed velocity, but it is clearly far too fast. -- - Original Message - From: [EMAIL PROTECTED] To: Subject Detroit [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Monday, October 22, 2001 2:37 AM Subject: RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! How advanced is a piece of equipment that can finally do today what certain Detroit Djs could do 12 years ago? Where is the progress in TALENT? All this does is make it easier for djs who lack the ability to do it by hand. Instead of raising the bar, they lowering it and trying to step over. word! I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? That's what techno music is about, RAW SKILL. anything that makes it easier for someone to express tehmselves creatively, like say a computer, is a CRUTCH. it's BULLSHIT. it should be MOCKED. How can some foolish upstart who's not even from detroit, some moron canadian, possibly think he can start calling himself a so-called tecno dj when he uses a COMPUTER? I for one, am shocked an appalled! who's up for a turntable jam session! come to my house in belleville, only in detroit! back and proud, jeff mills - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? im sorry to tell you but electronic music is about that everything is controled or made by some kind of computer, synthsizer or sampler. im not on hawtin side about mixing 1450 tracks in 60 minutes with computer, but please guitar, drums, what is next...banjo. How can some foolish upstart who's not even from detroit, some moron canadian, possibly think he can start calling himself a so-called tecno dj when he uses a COMPUTER? I for one, am shocked an appalled! am i hearing this right or you just said that anybody who is not from detriot cant be a dj, techno dj. i always tought that techno is about pushing the limits, making something new, be the first in upgrading the music. in mixing im on your side, turntables is my first choice, but choose your words. b. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
Geez wake up people it is is still the man who programs the machine! It's not the machine who makes the music!!! I am not even trying to take this response seriously, what a limited vision... KJ I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? That's what techno music is about, RAW SKILL. anything that makes it easier for someone to express tehmselves creatively, like say a computer, is a CRUTCH. it's BULLSHIT. it should be MOCKED. How can some foolish upstart who's not even from detroit, some moron canadian, possibly think he can start calling himself a so-called tecno dj when he uses a COMPUTER? I for one, am shocked an appalled! who's up for a turntable jam session! come to my house in belleville, only in detroit! back and proud, jeff mills - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- DISCLAIMER De gemeente Almelo aanvaardt voor haar medewerkers geen enkele aansprakelijkheid voor eventueel onjuist, onrechtmatig of ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). Dit e-mail bericht is door de gemeente Almelo gecontroleerd op de aanwezigheid van eventuele virussen. Wij kunnen echter geen garantie afgeven dat al onze e-mail berichten volledig virus vrij zijn. Het is daarom verstandig uw binnenkomende e-mail berichten zelf op de mogelijke aanwezigheid van virussen te controleren. -- - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? the funny thing about this statement is that most of the innovators from this time period in Detroit and Chicago that still have any musical standing today were playing traditional instruments before they started making dance music. It is funny that no matter how much technology we get, you still cannot get around the fact that you have to write good music. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
It's not just you. The excessive use of caps was a hint, but signing off as Mills gave it away. Kevin --- Fixer [EMAIL PROTECTED] wrote: is it just me, or does it seem everyone who responded to Chris missed the seemingly obvious sarcasm in his post? I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? -- fix.er \'fik-s*r\ n : one that fixes : as : one that intervenes to enable a person to circumvent the law or obtain a political favor : one that adjusts matters or disputes by negotiation - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] __ Do You Yahoo!? Make a great connection at Yahoo! Personals. http://personals.yahoo.com - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
is it just me, or does it seem everyone who responded to Chris missed the seemingly obvious sarcasm in his post? I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? -- fix.er \'fik-s*r\ n : one that fixes : as : one that intervenes to enable a person to circumvent the law or obtain a political favor : one that adjusts matters or disputes by negotiation - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
haha. the dual identity of this thread is now OVER ! -Original Message- From: Fixer [mailto:[EMAIL PROTECTED] Sent: Monday, October 22, 2001 2:10 PM To: 313@hyperreal.org Subject: Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere is it just me, or does it seem everyone who responded to Chris missed the seemingly obvious sarcasm in his post? I totally agree! computers are totally ruinging electronic music! I mean, where's the TALENT in pushing some buttons, or twisting a knob? whatever happened to what a few guys, ONLY IN DETROIT, did 12 years ago, like PLAY THE DRUMS, or LEARN THE GUITAR? -- fix.er \'fik-s*r\ n : one that fixes : as : one that intervenes to enable a person to circumvent the law or obtain a political favor : one that adjusts matters or disputes by negotiation - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
- Original Message - From: Berislav [EMAIL PROTECTED] but please guitar, drums, what is next...banjo. sorry already been done kent williams samples a banjo in one of his tunes. - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! How advanced is a piece of equipment that can finally do today what certain Detroit Djs could do 12 years ago? Where is the progress in TALENT? All this does is make it easier for djs who lack the ability to do it by hand. Instead of raising the bar, they lowering it and trying to step over. back.Bone From: Yair Etziony [EMAIL PROTECTED] To: 'Vince Woolums' [EMAIL PROTECTED], '313@hyperreal.org' 313@hyperreal.org Subject: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere Date: Thu, 18 Oct 2001 22:25:07 +0200 Regards. i really enjoyed reading your stuff vince i think that u r like 90% right. most of the time we think that technology will make us more innovative and more creative, but alas i think technology is just making us more and more dependent on it. creative is something that comes from the mind not something u can have with technology, like any new gimmik the final scratch will come and go. i am not too sure that vinyls will stay for ever but i know one thing- all the new technology stuff for dj`s is simple uncreative. they made software who acts as turntables ,they make cd who acts like a turntable. if technology were really creative they would just try to immitate but to innovate something REALLY new. y/ -Original Message- From: Vince Woolums [mailto:[EMAIL PROTECTED] Sent: Thursday, October 18, 2001 8:54 PM To: 313 List Subject: re: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere i don't think you understand what final scratch is, and how de9(?) was made. final scratch is a tool that allows use to use two regular turntables and a regular mixer to control any a digital file on a computer just like you would a slab of vinyl. you slow the turntable down and the digital file slows down etc. you do it live. it's not digital editing tool like pro tools or peak etc. anything you do with you do live. i'm briefed on final scratch. i've seen acquav!va use it. in addition, i'm aware of the production techniques involved in the creation of both de9 and closer to the edit. i'm also aware of the physics behind the technology. i've watched these develpments rather closely. you're missing one of my points: that many other DJs dont need it, dont prefer it, and whose performance would be limited by said technology. as for the detrimental trade on vinyl. well, it's heavy, wears out, and is hard to distribute. digital files can be endlessly copied and emailed all over the place, placed on sites. it allows more people to have access to more music. what you do on the turntables should be determined by your skill level and inventiveness, not by the vinyl you can afford or have access to. instead of letting record companies, distributors, and record stores determine what tracks you have access to you can play tracks by anybody that cares to post them. your words are very interesting. so what if vinyl is heavy, wears out and is hard to distribute? all of those things are unique to the DJ trade and the art form. thomas brinkmann is able to utilize a unique technological tool, one final scratch can't even approach and that relies on vinyl and not mp3. that not just anyone can have any track is central to my argument. dont think i'm preaching vinyl elitism - but if everyone had access to any and every track, would they create something unique, special, or anything but homogenized? here's an analogy - if everyone had the exact same make, model and color Porsche, would it still be special?? more people with more access is giddy hat-tip to liberalist egalitarianism. part of the fun of DJing, to me, is digging through crates in used shops, looking on the internet for out of print tracks, trading them with my friends, cleaning them up once in a while and chatting with people all over the world when buying or selling vinyl. what you do on the turntables should be determined by your skill level and inventiveness, not by the vinyl you can afford or have access to contradiction! first you say that everyone will have access to more music, then you assert that 'inventiveness' will occur? my retail experience shows me first that as soon as a new mix CD comes out kids are lining up to buy the tracks on that mix. and often they don't just want the tracks - they want to play them in the SAME order. second, since anyone can own and play anything, what will stop the 'top' DJs from playing all the songs a crowd wants to hear? easy access is exactly why mp3 DJs devalue our beloved music! also, your statement seems focused solely on 'smooth mix' djs like hawtin, and i daresay, many of the big room trance djs. what about those who dont blend for hours? are you asserting that that m!lls is not inventive? rob swift? cut chemist dj shadow? et al? i agree that people with too much money own a lot of good tracks. but making tracks FREE to people will make that problem much, much worse.
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
like how the drum machine made the sounds of early tribal percussionists, only poorly? where does it say all music must come on vinyl? It's a dying medium, with less and less raw resources to maintain it's production. There are advantages and disadvantages to any technology. I notice few of you are still getting around town in a horse and buggy... btw, hi Bone, how's it going? It's been a long time! At 08:35 21/10/2001 -0400, Subject Detroit wrote: Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! How advanced is a piece of equipment that can finally do today what certain Detroit Djs could do 12 years ago? Where is the progress in TALENT? All this does is make it easier for djs who lack the ability to do it by hand. Instead of raising the bar, they lowering it and trying to step over. back.Bone -- fix.er \'fik-s*r\ n : one that fixes : as : one that intervenes to enable a person to circumvent the law or obtain a political favor : one that adjusts matters or disputes by negotiation - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
finalscratch : Be patient Ever heard of the step by step program ? we move slowly first we imitate then we innovate But i'm not gonne tell you here how to lay down you creativity on a tool it ain't all 'bout what's here now ;-) Mad'R - Original Message - From: Subject Detroit [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Sunday, October 21, 2001 2:35 PM Subject: RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! How advanced is a piece of equipment that can finally do today what certain Detroit Djs could do 12 years ago? Where is the progress in TALENT? All this does is make it easier for djs who lack the ability to do it by hand. Instead of raising the bar, they lowering it and trying to step over. back.Bone From: Yair Etziony [EMAIL PROTECTED] To: 'Vince Woolums' [EMAIL PROTECTED], '313@hyperreal.org' 313@hyperreal.org Subject: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere Date: Thu, 18 Oct 2001 22:25:07 +0200 Regards. i really enjoyed reading your stuff vince i think that u r like 90% right. most of the time we think that technology will make us more innovative and more creative, but alas i think technology is just making us more and more dependent on it. creative is something that comes from the mind not something u can have with technology, like any new gimmik the final scratch will come and go. i am not too sure that vinyls will stay for ever but i know one thing- all the new technology stuff for dj`s is simple uncreative. they made software who acts as turntables ,they make cd who acts like a turntable. if technology were really creative they would just try to immitate but to innovate something REALLY new. y/ -Original Message- From: Vince Woolums [mailto:[EMAIL PROTECTED] Sent: Thursday, October 18, 2001 8:54 PM To: 313 List Subject: re: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere i don't think you understand what final scratch is, and how de9(?) was made. final scratch is a tool that allows use to use two regular turntables and a regular mixer to control any a digital file on a computer just like you would a slab of vinyl. you slow the turntable down and the digital file slows down etc. you do it live. it's not digital editing tool like pro tools or peak etc. anything you do with you do live. i'm briefed on final scratch. i've seen acquav!va use it. in addition, i'm aware of the production techniques involved in the creation of both de9 and closer to the edit. i'm also aware of the physics behind the technology. i've watched these develpments rather closely. you're missing one of my points: that many other DJs dont need it, dont prefer it, and whose performance would be limited by said technology. as for the detrimental trade on vinyl. well, it's heavy, wears out, and is hard to distribute. digital files can be endlessly copied and emailed all over the place, placed on sites. it allows more people to have access to more music. what you do on the turntables should be determined by your skill level and inventiveness, not by the vinyl you can afford or have access to. instead of letting record companies, distributors, and record stores determine what tracks you have access to you can play tracks by anybody that cares to post them. your words are very interesting. so what if vinyl is heavy, wears out and is hard to distribute? all of those things are unique to the DJ trade and the art form. thomas brinkmann is able to utilize a unique technological tool, one final scratch can't even approach and that relies on vinyl and not mp3. that not just anyone can have any track is central to my argument. dont think i'm preaching vinyl elitism - but if everyone had access to any and every track, would they create something unique, special, or anything but homogenized? here's an analogy - if everyone had the exact same make, model and color Porsche, would it still be special?? more people with more access is giddy hat-tip to liberalist egalitarianism. part of the fun of DJing, to me, is digging through crates in used shops, looking on the internet for out of print tracks, trading them with my friends, cleaning them up once in a while and chatting with people all over the world when buying or selling vinyl. what you do on the turntables should be determined by your skill level and inventiveness, not by the vinyl you can afford or have access to contradiction! first you say that everyone will have access to more music, then you assert that 'inventiveness' will occur? my retail experience shows me first that as soon as a new mix CD comes out kids are lining up to buy the tracks on that mix. and often they don't just want the tracks - they want to play them in the SAME order. second, since anyone can own and play anything, what will stop
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
i would have to agree, it cheating. burns From: Subject Detroit [EMAIL PROTECTED] Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! How advanced is a piece of equipment that can finally do today what certain Detroit Djs could do 12 years ago? Where is the progress in TALENT? All this does is make it easier for djs who lack the ability to do it by hand. Instead of raising the bar, they lowering it and trying to step over. back.Bone From: Yair Etziony [EMAIL PROTECTED] To: 'Vince Woolums' [EMAIL PROTECTED], '313@hyperreal.org' 313@hyperreal.org Subject: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere Date: Thu, 18 Oct 2001 22:25:07 +0200 Regards. i really enjoyed reading your stuff vince i think that u r like 90% right. most of the time we think that technology will make us more innovative and more creative, but alas i think technology is just making us more and more dependent on it. creative is something that comes from the mind not something u can have with technology, like any new gimmik the final scratch will come and go. i am not too sure that vinyls will stay for ever but i know one thing- all the new technology stuff for dj`s is simple uncreative. they made software who acts as turntables ,they make cd who acts like a turntable. if technology were really creative they would just try to immitate but to innovate something REALLY new. y/ -Original Message- From: Vince Woolums [mailto:[EMAIL PROTECTED] Sent: Thursday, October 18, 2001 8:54 PM To: 313 List Subject: re: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere i don't think you understand what final scratch is, and how de9(?) was made. final scratch is a tool that allows use to use two regular turntables and a regular mixer to control any a digital file on a computer just like you would a slab of vinyl. you slow the turntable down and the digital file slows down etc. you do it live. it's not digital editing tool like pro tools or peak etc. anything you do with you do live. i'm briefed on final scratch. i've seen acquav!va use it. in addition, i'm aware of the production techniques involved in the creation of both de9 and closer to the edit. i'm also aware of the physics behind the technology. i've watched these develpments rather closely. you're missing one of my points: that many other DJs dont need it, dont prefer it, and whose performance would be limited by said technology. as for the detrimental trade on vinyl. well, it's heavy, wears out, and is hard to distribute. digital files can be endlessly copied and emailed all over the place, placed on sites. it allows more people to have access to more music. what you do on the turntables should be determined by your skill level and inventiveness, not by the vinyl you can afford or have access to. instead of letting record companies, distributors, and record stores determine what tracks you have access to you can play tracks by anybody that cares to post them. your words are very interesting. so what if vinyl is heavy, wears out and is hard to distribute? all of those things are unique to the DJ trade and the art form. thomas brinkmann is able to utilize a unique technological tool, one final scratch can't even approach and that relies on vinyl and not mp3. that not just anyone can have any track is central to my argument. dont think i'm preaching vinyl elitism - but if everyone had access to any and every track, would they create something unique, special, or anything but homogenized? here's an analogy - if everyone had the exact same make, model and color Porsche, would it still be special?? more people with more access is giddy hat-tip to liberalist egalitarianism. part of the fun of DJing, to me, is digging through crates in used shops, looking on the internet for out of print tracks, trading them with my friends, cleaning them up once in a while and chatting with people all over the world when buying or selling vinyl. what you do on the turntables should be determined by your skill level and inventiveness, not by the vinyl you can afford or have access to contradiction! first you say that everyone will have access to more music, then you assert that 'inventiveness' will occur? my retail experience shows me first that as soon as a new mix CD comes out kids are lining up to buy the tracks on that mix. and often they don't just want the tracks - they want to play them in the SAME order. second, since anyone can own and play anything, what will stop the 'top' DJs from playing all the songs a crowd wants to hear? easy access is exactly why mp3 DJs devalue our beloved music! also, your statement seems focused solely on 'smooth mix' djs like hawtin, and i daresay, many of the big room trance djs. what about those who dont blend for hours? are you asserting that that m!lls is not inventive? rob swift? cut chemist dj shadow? et al? i agree that people with too much money own a lot of good
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
Sorry, that's the same critic techno ( or New Beat here in Belgium ) received in the beginning from classical (rock) musicians : with those machines it's easy to make music. 303 vs. drumset, remember ? You are talking about an instrument. Some will play with it, but few will squeeze original content out of it. It's a good thing that maybe more people will be attracted to Djing by this device. More people : more possible talent. It's not the machine that will be creative for you. I don't care if a mix is made with PCDJ or SL1200's, as long as it's a good, surprising, original set that gets my body shaking. :-G http://www.appletree.be | -Original Message- | From: ryan burns [mailto:[EMAIL PROTECTED] | Sent: zondag 21 oktober 2001 19:39 | To: 313@hyperreal.org | Subject: RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere | | | | i would have to agree, it cheating. | | burns | | | From: Subject Detroit [EMAIL PROTECTED] | | Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! | How advanced is a piece of equipment that can finally do today what | certain Detroit Djs could do 12 years ago? Where is the progress in | TALENT? All this does is make it easier for djs who | lack the ability to do it by hand. | Instead of raising the bar, they lowering it and trying to step over. | | back.Bone | | | From: Yair Etziony [EMAIL PROTECTED] | To: 'Vince Woolums' [EMAIL PROTECTED], '313@hyperreal.org' | 313@hyperreal.org | Subject: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere | Date: Thu, 18 Oct 2001 22:25:07 +0200 | | Regards. | i really enjoyed reading your stuff vince i think that u | r like 90% | right. most of the time we think that technology will make us more | innovative and more creative, but alas i think technology is just | making us more and more dependent on it. | creative is something that comes from the mind not | something u can have | with technology, like any new gimmik the final scratch will | come and go. i | am not too sure that vinyls will stay for ever but i know | one thing- all | the | new technology stuff for dj`s is simple uncreative. they | made software who | acts as turntables ,they make cd who acts like a turntable. | if technology | were really creative they would just try to immitate but to innovate | something REALLY new. | | y/ | -Original Message- | From: Vince Woolums [mailto:[EMAIL PROTECTED] | Sent: Thursday, October 18, 2001 8:54 PM | To: 313 List | Subject: re: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere | | | i don't think you understand what final scratch is, and | how de9(?) | was | made. | final scratch is a tool that allows use to use two regular | turntables | and | a | regular mixer to control any a digital file on a | computer just like | you | would a | slab of vinyl. you slow the turntable down and the digital file | slows | down | etc. | you do it live. it's not digital editing tool like pro tools or | peak | etc. | anything you do with you do live. | | i'm briefed on final scratch. i've seen acquav!va use it. in | addition, i'm aware of the production techniques involved in the | creation of both de9 and | closer to the edit. i'm also aware of the physics behind | the technology. | i've watched these develpments rather closely. | | you're missing one of my points: that many other DJs dont need it, | dont prefer it, and whose performance would be limited by said | technology. | | as for the detrimental trade on vinyl. well, it's heavy, | wears out, | and | is | hard | to distribute. digital files can be endlessly copied and emailed | all | over | the | place, placed on sites. it allows more people to have access to | more | music. what | you do on the turntables should be determined by your | skill level | and inventiveness, not by the vinyl you can afford or | have access | to. instead of letting record companies, distributors, | and record | stores | determine | what tracks you have access to you can play tracks by | anybody that | cares | to post | them. | | your words are very interesting. so what if vinyl is | heavy, wears out | and is hard to distribute? all of those things are unique | to the DJ | trade and the art form. thomas brinkmann is able to | utilize a unique | technological tool, one final scratch can't even approach and that | relies on vinyl and not mp3. | | that not just anyone can have any track is central to my argument. | dont think i'm preaching vinyl elitism - but if everyone | had access to | any and every track, would they create something unique, | special, or | anything but homogenized? here's an analogy - if everyone had the | exact same make, model and color Porsche, would it still be | special?? | | more people with more access is giddy hat-tip to liberalist | egalitarianism. | part of the fun of DJing, to me, is digging through crates | in used
