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Hasn't TasteXperience been around for ages? That's what I thought

quote:

Originally posted by Aesthetic Hasn't TasteXperience been around for ages? That's what I thought

Yes, I have the original vinyl release of "sumersault" which I bought back in 98 or 99. Even the tall paul mix which came with it is great too.

thanks for the replies guys - appreciate the feedback

so...
is this the same TasteExperience that made Summersault in 98 or not?
That track was soooo great btw. Miss those times

quote:

Originally posted by palm so... is this the same TasteExperience that made Summersault in 98 or not? That track was soooo great btw. Miss those times

Yes.

quote:

Originally posted by palm so... is this the same TasteExperience that made Summersault in 98 or not? That track was soooo great btw. Miss those times

Have you not heard the new remixes Perfecto just put out for Summersault? It's a great release. I did a remix myself but didn't meet the deadline, you can hear it on my MySpace. Some even bigger names are currently remixing it now, so hoping for a second round of releases, and then of course we have Hydewood and I'm about to license another track from him that sounds about as close to a fusion of late 90's trance with modern day technology that you can get.


http://www.myspace.com/djstephenwiley

Hopefully this answers your question. Russell Barker does all the work now for the TasteXperience name (although he did nearly all of it back in the late 90's anyway, so nothing has really changed)

He did a lot of work with Maria Nayler, which some of you may recognize. Actually trying to get her back into dance. If you can't tell by now, I not only love the late 90's sound, but I also want to "ressurrect" some of the artists from its time. They were so damn talented. Airwave is a perfect example but he obviously hasn't required any ressurection.

We need Oliver Lieb, Andy Gray, Steve Osbourne, Matt Darey (in his old form), Nat Monday, John Graham, Orkidea, etc. to do more. The main problem I have found when trying to work with them is they are so used to $ being involved in the process (and not small amounts) - Some of these guys used to make piles of cash just making tracks in their basement and that just isn't possible anymore with the death of vinyl and the fad of mp3's and laptop dj'ing. I can tell you I personally spent around $12,000 on vinyl alone. That doesn't include the turn tables, needles, etc. I'll never even come close to spending that much on music till the day I die.

I don't care though. The odds have been stacked against Olympik since day 1. Started the label at probably the worst time in history to ever start a label. Music sales have never been worse. Everything is stale for the most part in music genres. Beatport locked itself down shortly after Olympik launched, effectively ruining the chance for an easy distributorship with the company which is and continues to be a huge problem because every artist thinks Beatport is the holy grail despite the factual numbers I feed them proving Beatport is no longer the #1 download site. (It is Juno) - But perception is reality, so it is what it is.

Sorry for the rant.

quote:

Originally posted by palm so... is this the same TasteExperience that made Summersault in 98 or not? That track was soooo great btw. Miss those times

I still listen to that track all the time. Nothing like those late '90s prog trance tunes anymore. TasteXperience, Albion, Breeder, Quivver, Tilt, L.S.G.

Quivver is still producing, but he picks his spots and doesn't do much. I talked with Lieb about a month ago and he was debating on buying a new PC and getting back into production. Not sure what he chose....hopefully a new computer!

One thing to keep in mind about old artist names is there were tons of aliases uses. Look no farther than TA's very own Airwave. He and Ferry Corsten are probably the most notable alias'd producers in Trance history (which is a good thing in my opinion, it shows they're not so concerned about writing their name on everything and being looked upon like a god)

I mean for heavens sake pull up Ferry Corsten's discogs and look how many tracks that guy is responsible for. It is absolutely mind blowing.

Yeah, here are Lieb's pulled from Discogs:

Alpha Omega (4), Ambush, The, Archon, Ecano, Every, Genetix (2), Gobiman, Ivan, L.S.G., Mark III, Mindspace, Multiplicity, O.L., Paragliders, Phools Inc, Radical Impression, S.O.L., Smoked, Snakemen, Solieb, Spicelab, Strike (3), Superspy

And Ferry's:

4x4, A Jolly Good Fellow, Albion, Bypass (4), Cyber F, Dance Therapy, Delaquente, Digital Control, DJ Sno-White, East West (2), Eon (2), Exiter, Farinha, Ferr, Firmly Undaground, Free Inside, Funk Einsatz, Kinky Toys, Lunalife, Moonman, Nutter, The, Party Cruiser, Pulp Victim, Raya Shaku, Sidewinder (2), Skywalker (4), System F, Zenithal

Amazing how much these guys have done.

quote:

Originally posted by DjStephenWiley I mean for heavens sake pull up Ferry Corsten's discogs and look how many tracks that guy is responsible for. It is absolutely mind blowing.

Yeah, it's pretty amazing. I was looking at it yesterday:

http://www.discogs.com/artist/Ferry+Corsten

sorry i havent really looked for new music in a few years really (since i sold my mixer and decks), im only listening to promos i get (not much lol), and livesets/djmixes i download. in general one track cant really do it for me anymore, i need a whole hour djmix atleast. the djs capable of sticking to one genre/style for more than one hour is what im looking for really monoton shit, whether it be uplifting, progressive or techno, just stick to one of them lol. i might get traktor duo and a midicontroller soon though, and then i might get into buying mp3s again, but seriously i dont wanna bring laptop to djeing. i just wanna bring a usb-pen and put it into a midicontroller/djmixer, and thats all. to bad thats not on the market yet. all the stuff i want doesnt exists! damn industri not changing in 30 years, nothing has been invented since the 80s. and by the time things are the way i want, im probably so old i cant use it due to deafness and musclecramps.

quote:

Originally posted by palm the djs capable of sticking to one genre/style for more than one hour is what im looking for

Why?

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Originally posted by david.michael Why?

beacuse i use atleast 20-30 minutes to get into the state of mind i want to and when im first there id like to be there for a few hours, not 5 minutes. theres nothing wrong with progression though slowly from one style to another style, but to change instantly every 5 minutes just makes me loose the whole vibe of things. i cant really tell if an edm track is good before i hear it in a mix anymore. and that is beacuse edm music isnt at all stand alone music anymore as it where (sometimes) in the early 90s (daft punk, prodigy and underworld?)
damn i cant explain it any better lol.

quote:

Originally posted by palm beacuse i use atleast 20-30 minutes to get into the state of mind i want to and when im first there id like to be there for a few hours, not 5 minutes. theres nothing wrong with progression though slowly from one style to another style, but to change instantly every 5 minutes just makes me loose the whole vibe of things. i cant really tell if an edm track is good before i hear it in a mix anymore. and that is beacuse edm music isnt at all stand alone music anymore as it where (sometimes) in the early 90s (daft punk, prodigy and underworld?) damn i cant explain it any better lol.

I see where you're coming from. I just guess that there are plenty of tracks which I could see working well even when changing genres (some tech mixes well with some prog, some prog mixes well with some deep, etc.)

I'm more interested in hearing sets in which genre is not a deciding factor in the track selection, and yet still maintains the type of flow you speak of.

well im not into genres myself, its more style somehow. i like it repeatative whether it be trance, techno, prog, house whatever, and sometimes these can be mixed good together but i rarely hear that. what usualy happen when u mix house and trance and techno is that u get the worst of all the genres and end up with minimal tech trance which is the worst genre ever imo (david gueato, etc)

This song in question is amazing. LOVE IT!!

it sounds promising, wants to listen on 320kbps, let me know if u want to give me a promo of it

quote:

Originally posted by DjStephenWiley Every artist thinks Beatport is the holy grail despite the factual numbers I feed them proving Beatport is no longer the #1 download site. (It is Juno)

Is this actually true?

Whilst I have no hard evidence to the contrary, I have always heard that Beatport has something like 80% of the dance music download market with the remaining 20% shared between all the others.

I've never heard of Juno having any kind of siginificant share.

Do you have any links to backup that Juno is the number one? Or have I misunderstood your post?

quote:

Originally posted by G-Con Is this actually true? Whilst I have no hard evidence to the contrary, I have always heard that Beatport has something like 80% of the dance music download market with the remaining 20% shared between all the others. I've never heard of Juno having any kind of siginificant share. Do you have any links to backup that Juno is the number one? Or have I misunderstood your post?

www.compete.com


www.juno.co.uk
www.junodownload.com
www.beatport.com

Visitors does not equal sales. My royalties have been quite consistent on this matter. Beatport is good for about 75-85% on all the statements I have received since my first release in 2005.

Well, at first there was EDMDigital as well which went bankrupt shortly after.

Believe what you like then. Beatport has, until the turn of the year, been the most used, but now they're getting blown away. If you have evidence (numbers) to support what you've said, then please do. You're isolated numbers really don't matter, either. Were your tracks Beatport exclusive? Was Beatport, and no other distributor, plastered all over your labels myspace, your myspace, and all your signatures?

I have personally bought my music from everywhere but Beatport, but gladly used their bandwith to listen to new music.

Unique ID visits is the strongest evidence I can give. I've talked with many other labels regarding the issue who will say the same as I, but gossip is what it is and I'm not here to spread it. I find it funny when an artist thinks 80% of their sales will come from Beatport. They are either represented by a terrible label, completely clueless, or both.

quote:

Originally posted by palm beacuse i use atleast 20-30 minutes to get into the state of mind i want to and when im first there id like to be there for a few hours, not 5 minutes. theres nothing wrong with progression though slowly from one style to another style, but to change instantly every 5 minutes just makes me loose the whole vibe of things. i cant really tell if an edm track is good before i hear it in a mix anymore. and that is beacuse edm music isnt at all stand alone music anymore as it where (sometimes) in the early 90s (daft punk, prodigy and underworld?) damn i cant explain it any better lol.

I totally agree with this statement especially cause new and upcoming DJs do this all the time.

I like a set that feels like its progressing to something rather than jumping about just showing off the latest tunes. I find it rather ridiculous to hop around styles so rapidly and its a real turn off to me when i am listneing to a set. I like to get in that state of mind and jsut float away into a set like its seemless and flows like water.

An example of a good set:

Markus Schulz - Toronto 09 (CD 1) has a top notch progression and probably the best compilation CDs i have heard in a long time because it really takes you on a journey

CD 2 was good too but not as good as CD 1.

his CDs: Miami 05, Ibiza 06, Amsterdam 08, are also all very on point.

quote:

Originally posted by DjStephenWiley Believe what you like then. Beatport has, until the turn of the year, been the most used, but now they're getting blown away. If you have evidence (numbers) to support what you've said, then please do. You're isolated numbers really don't matter, either. Were your tracks Beatport exclusive? Was Beatport, and no other distributor, plastered all over your labels myspace, your myspace, and all your signatures?

It's not a matter of believing, but of asking around in your network and just looking at the $ figures . And to answer the other questions: no,no (I rarely use my myspace and nobody visits my website ),just my signatures here on TA.

Try and hook up with a proper distributor or something to get you on BP and you'll see for yourself

[edit] What I forgot to mention is that certain sites seem to perfomr well within a certain genre. BP does well on Electro House and Progressive house. I think it's audiojelly and trackitdown whom specialise more in trance music. Maybe Juno does very well in a genre I don't ahve anything to do with which in turn could justify the sales difference between Juno & Beatport.

Well, sorry, but I'm going to listen to some of the guys who run some of the most successful labels in the business before I listen to the experience of one artist. Beatport is a small piece of the pie, both in distribution, promotion, and licensing. I forgot to add that if labels add their releases 4 weeks prior to release on Juno, they send the release as part of a complimentary package to Radio 1. There are a lot of factors involved at every process that you have to take into account.

Juno has been around longer than I have, will be around after I'm gone, and is the only company who has done everything through snail mail and true signed contracts along with actual telephone conversations.

quote:

Originally posted by DjStephenWiley Well, sorry, but I'm going to listen to some of the guys who run some of the most successful labels in the business before I listen to the experience of one artist.

Let's just say I'm speaking from my own experience as well as others within my network.

I've actually done a research project on this subject (main subject: "Where do the opportunities lie to earn a decent income from music production") little over a year ago which involved responses from labels such as Armada/Cloud 9 dance, Spinnin', Flashover, Intuition and tons of smaller labels. None of them mentioned Juno as an important contributing factor. And yet those labels cover almost the entire spectrum of popular dutch progressive/trance dutch artists in the DJ top 100 and even a significant part of globally well-respected artists.

It's not just me, my remarks are based on several weeks of research. A bit over 1 year old however.

But as I said in my edited previous post, the market share of Beatport I'm estimating might be off due to the fact that certain shops perform well within a few genres while permorming less on others.

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