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-- What's new in your crate? [physical/virtual]
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Genuine question:

Apart from DJ Tsunami, who would presumably singlehandedly manage to prevent the likes of ebay and discogs from toppling, and a few others posting recently, how many of you regulars still keep collections of / play / purchase vinyl records (to DJ with / to listen / for aesthetic reasons)? Anyone hunt rare vinyl releases, even when money is perhaps mostly spent on digital files and perhaps the odd CD? Having just purchased a couple of older records myself, and having had a proper look around on discogs, I can imagine it's tempting (to say the least) to bulk buy records, with so many great releases from such glorious progressive years like 2001, for instance, often apparently near-mint, going for next to nothing.

Just curious to see what especially those of you on here who are clearly very knowledgeable about both current and past electronic music are up to in this respect.

No vinyls for me, bought CD's since late 80's, but Seven Days and One Week made me buy some vinyls from 96-2000 (like 30). I sold them to a friend except three. Never sold one of my cd's though. Last CD's I bought at Discogs last year were Fits of Gloom - To Love (1993) and the Propaganda - A Secret Wish album (1985).
Very tempting to buy more cd's I couldn't get in the 90's, but then, when do I listen them?
My sister's boyfriend has over 5000 vinyls, so I'm happy I never started seriously collecting vinyls

Actually, another genuine question to you all:

When using Beatport or something similar, do you purchase 320 MP3s, or always WAVs?

Mostly 320 mp3, sometimes WAV. But I doubt my ears can hear the difference at my age

quote:

Originally posted by Trance-M I sold them to a friend except three.

Were they special records which you kept?

quote:

Originally posted by Midlothian Were they special record which you kept?

To me they were and still are:

1. BBE - Seven Days and One Week
I was the first to order it at a tiny record shop in Belgium where many local DJ's bought their records. I heard it at the Club Real in Tongeren (B), a cool dark, maybe typical Belgian club at the time. Just noticed the shop (20 years later) still exists Disk Kid in Rekem. I must have been among the first in Holland to own it.
2. Nylon Moon - Sky Plus (over the Sky) Posted it on Youtube as first one. A beautiful dreamy piano trancer.
3. Face The Phase - Face The Phase II
Had to search long to find it, heard it at the Peppermill in Heerlen were we were regular visitors on Saturday, not Hardcore Fridays, where the club was known for. It's a track that works far more better in a club on a decent sound system than at home.

My father and my uncle used to DJ, so I always had CD players and 1200's in my room growing up. They had a hefty collection of mainstream music on CD and vinyl so I got into the formats early on. I didn't really start collecting on my own until early 2004, and from there's it's been full on hoarding without any pauses.

I often buy collections in bulk from sellers (mostly) in Stockholm. It's a great way to get to know new and old music, and I usually keep what I want and sell the rest. My main focus is collecting old (mostly 90s) techno, electro, house, idm, jungle, acid, ambient and similar styles.

On Discogs and other sources, I usually buy mid-90s compilations and cd singles to get full versions of specific tracks. Even if I have the complete vinyl version, I prefer having the full length version in .wav format ripped from CD for my own library.

When I purchase files online, nowadays, it's only .wav. If I'm going to pay for a digital file, I want the full thing, not a lossy mp3. I'm no audiophile, and I probably won't hear any difference, but I want to build a complete .wav collection of every track I like. It will never be complete, and that's a challenge I really enjoy. The library is linked to my CDJs so I can play the tracks without digging out the CD from the shelves.

I'm trying to buy less physical and more digital at the moment, because space is limited. Not everything's listed on Discogs yet, but I would estimate the collection to north of 8000 physical units.

My music collection currently looks like this:
https://www.facebook.com/photo.php?fbid=2118127861537359&set=a.1861174053899409.1073741826.100000204961454&type=3&theater

With a side of this:
https://www.facebook.com/photo.php?fbid=2118128058204006&set=a.1861174053899409.1073741826.100000204961454&type=3&theater

I'd be buried in vinyl if these were all records (re: albums, DJ mixes, and compilations broken down into the EPs the tunes often came from). That's a format I dare not start collecting, because a CD buying habit is bad enough. I'm astounded dudes like DJ Tsunami even has storage for all the records he buys. Guy's gotta' have a shed or something by now.

quote:

Originally posted by Midlothian Genuine question: Apart from DJ Tsunami, who would presumably singlehandedly manage to prevent the likes of ebay and discogs from toppling, and a few others posting recently, how many of you regulars still keep collections of / play / purchase vinyl records (to DJ with / to listen / for aesthetic reasons)? Anyone hunt rare vinyl releases, even when money is perhaps mostly spent on digital files and perhaps the odd CD? Having just purchased a couple of older records myself, and having had a proper look around on discogs, I can imagine it's tempting (to say the least) to bulk buy records, with so many great releases from such glorious progressive years like 2001, for instance, often apparently near-mint, going for next to nothing. Just curious to see what especially those of you on here who are clearly very knowledgeable about both current and past electronic music are up to in this respect.

I have spent about �3000+ on vinyl in 2017 buying back vinyls I sold when I was younger and stupid.

I had began collecting WAV files from CDs and now I got them all I began to buy vinyl to rip those I couldnt get on CD or Beatport.

Then I discovered some tracks where upon ripping in 96kHz I heard elements of tracks I never heard before.

So then I had to buy everything on vinyl and rip it 96kHz. Then I had to buy an ultrasonic cleaner to make sure I was getting a high quality rip.

My last vinyl purchase (single 12") cost me �300 but it is one of the rarest records Oakenfold ever played so it was worth it as far as I am concerned.

These were my last two purchases, getting more expensive now as this stuff is rare not even mp3 rips of either out there!

Dude, 96k is nonsense for listening purposes. Anything above 44.1/48k and 16 bit lossless doesn't actually change fidelity, just the noisefloor, which is completely imperceptible with digital anyways.

I started buying vinyl around 2011. I'm at a bit over a thousand now, I think. I haven't been buying that much in the past year for various reasons but i'll get back into it eventually.

quote:

Originally posted by Woony Dude, 96k is nonsense for listening purposes. Anything above 44.1/48k and 16 bit lossless doesn't actually change fidelity, just the noisefloor, which is completely imperceptible with digital anyways.

Yes my post wasnt well explained.

I just prefer 32/96 for ripping as I can then take it into Izotope RX5 at the highest quality recording level and detail and remove electrical hum and surface noise and any remaining pops/clicks.

I will export then at 16/48 for listening.

A lot of stuff arrived in the mail this week. It was like Xmas for 5 days!

Mick Chillage - Harmonic Connections
Kubinski - Life Boy
Toxic Synther - Technocracy Assassins
Advanced UFO Phantom - Alliance Of Worlds
Castroe - Serum
Beatbox Machinery - Glam Nights
John Beltran - Everything At Once
Peter Broderick - Partners
Islands At Night - Ruebke
Pleq & Segue - The Seed
Kevin Yost - Fundamentals: The Best of The Early Years
Kevin Yost & Peter Funk - Beatkilla 2
Hyperdub 10.x Box Set (four compilations, six CDs total)


And of course, a beauty shot of it all.

BT - Remember EP

Vinyl. Many are duplicates which I hope I'll be able to sell


Octave One - The "X" Files
Octave One - The Living Key
Octave One - Cymbolic
Scan 7 - Dark Territory
UR* - Dark Energy
Audio Science - Skydiver
Love Inc. - New Jack City
The Bloom Of Gutter* ( The B.O.G. ) & U-Matic-X - The Patterns Of Force
Eternal Basement - Taking Place In You
Silicium (2) - Nowhere E.P.
D.O.M. - Voltage Control EP
Blue Planet Corporation - The Second EP
RAC - Tangents
S.J* - Fever
Mono Junk / Detroit Diesel - Auto Acid EP
Sonar Audio Research - 101 Science Experiments Vol1
Hallucinogen - Fluoro Neuro Sponge / Astral Pancakes
Bassline Baby - Tits'N'Ass EP
Virtual Obsession / SFX - Trust In Trance
Freddie Fresh* - Thought Process
Bad Man - Lover Man
Alici* - The Return EP
XP - Ground Hog
Edone - Tika
Parano�de Substance - Data Entry
Woody McBride - Rattlesnake
DJ Hell* - Three Degrees Kelvin / Like That!
Psychoacoustic (3) - Tribal
PA Presents* - Flight Stimulator
Various Artists* - Superstition Meets Planet E / Basel
D.M.A. (3) - D.M.A.
Lunar Module - Mental Acid Trilogy (Part 1)
Dubdog vs. Slack (2) - Outside In
Various - Sweden Goes Hardcore II
1016 - Distress Signal
DJ Bountyhunter - III
Transits Of Tone - Ark 003 / Obione
Total Eclipse - Aliens / Sound Is Solid
Woody McBride - Bad Acid - No Such Thing
Various - Trance Dance
Various - Acid House Disco
Various - Danger Zone Volume One - Kiss The Razor's Edge
Various - Hit The Decks Volume Two - The Battle Of The DJ's - The Ultimate Hardcore Megamix
Marusha - Over The Rainbow
Various - We Call It Hallucinates
The Art Of Noise - In No Sense? Nonsense!
Various - Country Code 46 - The Best Of Northern Dance Culture
Zodiac Trax - Zodiac Trax Volume 2
Structure (4) - Emergency
Union Jack - Two Full Moons & A Trout
Astral Projection - Mahadeva
X-Crash - Descension E.P.
Mike Dearborn - Unpredictable
Drax - Drax Ltd. II
DJ Hud - Modulation & Filtering Techniques - Modular Moog Edition 1967
Various - Bliss Point: Sampler
DBX - Losing Control
Various - Cyberspace 2 (The Journey)
Walker* - Don't Fuck With Cologne
AstroCat* - Phase Two
Bandulu - Presence
Tim Taylor & Dan Zamani - Planet Of Drums
Mike Dred - Kosmik Konundrums
Astral Projection - Power Gen EP

quote:

Originally posted by lacksesepsotygh Vinyl. Many are duplicates which I hope I'll be able to sell

Duplicates? Or... 'dubplate'-cates!

(yeah, no...)

quote:

Originally posted by Midlothian Actually, another genuine question to you all: When using Beatport or something similar, do you purchase 320 MP3s, or always WAVs?

320s. I really don't see the point of WAVs. I've heard Sasha say he only DJ's with 320 MP3s, because the difference even on a world class soundsystem is negligible.

I probably buy about 30-40 tunes from Beatport every month on average. I generally wait until they have a 50% sale and then raze my hold bin. I can't be bothered typing up MP3 purchases in this thread though, especially the weapons I want to use in sets.

quote:

Originally posted by Woony Dude, 96k is nonsense for listening purposes. Anything above 44.1/48k and 16 bit lossless doesn't actually change fidelity, just the noisefloor, which is completely imperceptible with digital anyways. I started buying vinyl around 2011. I'm at a bit over a thousand now, I think. I haven't been buying that much in the past year for various reasons but i'll get back into it eventually.

Actually this is not entirely true.

Let me preface by stating I'm a pro mix engineer for the score industry and regularly work in 24b / 96k in true surround 5 or 7.1 and have even worked in 12.1

For most home/consumer listening purposes 16/44.1 is fine. To take advantage of higher sample rates (more on bit depth later) you A) need to have a trained ear B) very serious sound reproduction equipment that doesn;t have a weak link in the entire signal path and C) a good listening environment (i.e. treated room).

All these things being true and equal, you can hear a difference. If one of these are lacking, the extra disk space that 96k takes up isn't worth it

However, there's strong evidence to show that even through the nyquist theorem is correct up to a point, there's harmonics (of high strings, woods etc) that don't get captured in 44.1k becuase they're above the 20k threshold.

With these sounds, you don't directly "hear" them but they add something in terms of being complete with their lower harmonic counterparts that your brain can detect (and inversely does detect if they're not there).

For a real world instance. I worked on a major superhero blockbuster and one of the cues had in excess of 580 individual tracks. Even on two Euphonix 246 channel desks (in different rooms but synced) it took over 30 passes to mix down the cue from nearly 80 stems. In the end there were whole stems of orchestra sections (i.e. complete orchestra sections of say violins and violas) that were little more than "coloration" as you couldn't hear them distinctly but their presence missing did take something away.

The entire score was recorded at least in 96k 32 bit floating point, and in certain instances 192k.

When playing the source vs 44.1k bounce (and bear in mind the bounces were actually passes done on the most expensive equipment and signal chain on this planet so no introduced loss) you could hear the difference like night and day.

Now, if we're talking dance music, made in someone's bedroom, produced from crappy samples and plugins, then mastered with Ozone or even send to a semi pro mastering facility, then pressed to vinyl in some random press, then you're ripping that, I very must doubt there's any real work benefit of 96k vs 44.1k

But as you go up the quality chain, and especially with some older records that were actually made with decent outboard kit, possibly recorded with traditional techniques using mics on synths, or well recorded drums and strings as samples done in pro studios, and pressed at plants that knew what they were doing and had good oldschool engineers, then the argument for higher sample rate (obviously all others being equal as above) becomes more relevant.

Finally, I'm not sure what you mean about it just increasing noise floor. Sample rate nor bit depth increases noise floor by itself. Poor gain staging with higher bit depth yes, but that's a completely different cause and argument.

To jacks point, in most shitty club settings 320 vs .wav won't make much of a difference at all, but the bigger the system, and anything of decent quality (Funktion 1 or martin for instance) .wav will make a massive difference. The problem with mp3 is how the common compression codecs work and the issue for me is that the extremes of LF and HF are always compromised first. I can actually hear the difference reliably between 320 and wav on a system such as my car, and while I don't go to clubs chin scratching, trying to catch the 320 out, you can hear a clarity, and depth of bass with a PCM or other lossless format.

If it's good enough for Sasha playing on systems like Fabric and Womb, it's good enough for me. I'm not going to waste hundreds of pounds a year paying for lossless format when the odds of me ever playing on a world class soundsystem are effectively nil.

JohNick - The Return Of The Meatmen
Aaron Carl* - My House
Quantec - Dimensions Beyond The Known
AnD (7) // Jonas Kopp - Transparent / Anklad
Chris Brann - Smuthullet EP
Terrence Parker - Disco Disciple EP
Hertz & Johan Bacto - Zyncronized Part 1
Detroit Grand Pubahs - Assistance From An Unknown Source / Plasticene Gene
Simon Digby - Bottom Line
Silicone Soul - All Nite Long
Crossfire (2) - Hydro E.P.
Surgeon - First
Baby Ford . I-Fach Collective* - The Healing EP
Hidden Agenda (2) Featuring Chicago Jones - Take Me Home
Green Velvet - The Bathroom

Apart from having started a bit of a collection of 98-03 prog (more or less) which I haven't made a list of yet, I could not resist purchasing a second-hand copy of VA - First Flight 3x12" (Flying Rhino Records 1996) when I came across it in a record shop in England today.

quote:

Originally posted by SYSTEM-J If it's good enough for Sasha playing on systems like Fabric and Womb, it's good enough for me. I'm not going to waste hundreds of pounds a year paying for lossless format when the odds of me ever playing on a world class soundsystem are effectively nil.

Tbh, you'd probably be shocked to see what certain people play out with and what the house engineers have to do to get around it (I've seen them using 128k Mp3's with massive eq curves just to flatten out the shite on world class systems).

I'm very sceptical of anyone hearing a "night and day" difference with these kind of things. We also hear a "night and day" difference when we turn an EQ knob that isn't assigned to anything, human hearing is incredible susceptible to biases and environmental factors. I haven't done super deep research or anything but literally any scientific study I have seen over the years that looks at lossy vs. lossless comes to the conclusion that pretty much nobody can realiable tell the difference in controlled scientific ABX testing. I can't find it anymore but there was some AES guy holding a "golden ear" contest willing to give a prize to anyone that can reliably tell between lossy and lossless in a controlled testing environment and till today nobody's been able to do it.

I guess higher sample rates make sense to avoid possible aliasing on certain plugins?

CD:

Above & Beyond - Common Ground [Anjunabeats]

Vinyl:

Amber - One More Night [Tommy Boy]
Art Of Trance - Mongoose [Platipus]
BT - Smartbomb [Nettwerk America]
Cibo Matto - Moonchild (Remixed By Derrick Carter) [F-111]
Cosmic Gate - Different Concept (Part One) [E-Cutz]
Crush - Luv'd Up [Robbins]
Debra Michaels - How Do I Live [Robbins]
Dizzy & Jado - The Funk In Tha Trunk EP [Doubledown]
Eddie Amador - House Music (DJ Sneak Remixes) [Yoshitoshi]
Endre - Kallocain [Anjunabeats]
Enmass - CQ (Seek You)/So Please [A State Of Trance]
Hipp-E - Foolish Ways [Doubledown]
Jas - The Static State Opera EP [Yoshitoshi]
Johnny Dangerous - Dear Father In Heaven [Twisted America]
Lil Mark - No Numerical Order [Doubledown]
The Lost Brothers feat. G Tom Mac - Cry Little Sister (I Need U Now) [Incentive]
Marc Et Claude - Tremble [Positiva]
Marc Et Claude vs. Ralphie Dee - Sunshower '98 [Go For It]
Martin Accorsi & Tim Skinner - Playing For Digweed [Bedrock]
Martin Accorsi & Tim Skinner - Playing For Silence/Vivid & Visual [Bedrock]
Master Freakz - Let Yourself Go [Spinnin']
Mojado - Arena [Magik Muzik]
Moogwai - Viola 2005 [Platipus]
Motorcycle - As The Rush Comes (The Remixes) [Armind]
Orbital - Belfast (Leama & Moor Re-Make) [Not On Label]
Origene - Sanctuary [Tommy Boy Silver Label]
Paffendorf - Be Cool [Data]
Perfect Phase - Slammer Jammer [Tripoli Trax]
Peter Rauhofer + Pet Shop Boys = The Collaboration - Break 4 Love (Part One) [Star 69]
Photon Project - The Inside/The Outside [Black Hole]
Queen & Vanguard - Flash [Nebula]
R.O.O.S. - Instant Moments (Waiting For) [Twisted America]
Real McCoy - (If You're Not In It For Love) I'm Outta Here [Arista]
Real McCoy - One More Time (The Remixes) [Arista]
Robert Miles - One & One (Remixes) [Arista]
Scintilator - The Festival [Tsunami]
Smudge & Smith - Near Me [INCtraxx]
Stranger - 2 Dimes EP [Grayhound]
Style Of Eye - Go Get Gone [Doubledown]
Sun - Ends Of The Earth (Eric Kupper/Peter Presta Remixes) [BML]
Wyclef Jean feat. The Rock & Melky Sedeck - It Doesn't Matter [Columbia]

Vinyl market in a very sunny Stockholm last sunday

Dopplereffekt - Gesamtkunstwerk (the 2x12" with the 7")
Voice Stealer - The All Electric House (1997 album by Carl Finlow)
Erell Ranson - Sleeping Beauty EP (payed only 12 EUR and the cheapest on Discogs is around 50-60 EUR)
Redshape - Square
Kerri "Kaoz 6:23" Chandler* - Finger Printz 2 EP.
Hundarna Fr�n S�der - EP
The Rotating Assembly - Natural Aspirations -The 12" Series-

32 and counting!

https://www.discogs.com/user/twiste...rt_by=timestamp

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