quote:

Originally posted by DRM well looking at ur custom status maybe you should take some of your own advice plus you're still wrong, you just cant seem to accept it

It says bored, not bored of arguing dumbshit.

Plus you're still wrong, you just can't seem to accept it

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To have one digital store that links all the of the existing ones together would be somewhat difficult based on all the proprietory systems each site uses. Coding a site to compensate for all of these would be a logistical nightmare, but not entirely impossible if attempted on a smaller scale.

It's safe to say the music industry accepts that most material will end up on P2P after it's come out as a retail release. It's the growing amount of pre-release and unsigned material that leaks out into the public domain that is what causes the biggest fuss.

Yes, watermarking is one solution, but to employ on a mass level takes time and effort far beyond the remit and IT knowledge of most producers and record labels. I know of someone who was developing a tracking system / database for the purpose of recording algorhythm keys that store unique identifiers (in this case a watermark), and logged it against a used ID (lets say for example Paul Oakenfold). Each person given a copy would have a different ID and key and when it was discovered that ID 001's copy is the one circulating, that information would be passed to a central database which collates information from many producers and labels. This list would then be cross referenced and those producers/DJs/labels whos name re-occurs would be added to a 'blacklist' which would then be distributed to the rest of the community. Somewhat shock and awe tactics really, but a feasible idea if it can be completed and proven to work.

Why do I say producers/labels/DJs? The fact of the matter is that you always have some who treat their material like loose women, pimping them to anyone they feel should have a copy. Thats the first mistake. Then you have DJs who pass on material to their buddies, and DJs who will do anything to have the the latest hot remixes just to be cool. Without naming names (but lets just say if you retread the thread you'll probably find the culprit), I know of a DJ who begged and begged a label for a copy of a remix and they refused to give it him on several occasions, yet he still went ahead and obtained it elsewhere, and not only featured it on his radio show but had the balls to chart it too. Just imagine Tranceaddicts, if this is the behaviour of one of your gods and all you trance artists worship him and feel having him to play one of your tracks is an achievement, does the bonus of being bent over and abused anally by the way he treats people's music make you feel good. Answers on a postcard please...

Well IMO it doesnt need to be that complicated.

Say I made a track. I wanna send out 20 copies of this track as promos. All I have to do is put a cymbal clash or an extra effect somewhere in the track, different to each promo. It wouldnt take more then an hour or two to do.

Then you send them out to everyone you want. If any of them get leaked, I download that and find the extra effect. Then I look at my list of promos and see immediatly who leaked it. If the list says "Armada office " or something like that, they get a stinky letter about it. If its a person, and not a label, they get a stinky letter and never get anymore promos.

I really cant comprehend why more people dont do this. It only takes an hour to do, and if a lot of people did it, the prerelease material leaked would be cut fairly quickly. If Armada say got 5 letters from different people saying that stuff had been leaked, theyre gonna get suspisious and check the people working there.

Its not gonna solve the problem, but it'll cut down on it a lot. To hell with the leaking after release, thats gonna happen no matter what.

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ID THESE TRACKS PLEASE

IDing tracks is like having sex, the more you get the happier you'll be!!

Want to download a Digweed set? TA ID HUNT!

The method I documented isnt complicated, its much easier than making 20 independent versin of a track with varying effects and samples at least, and is already being trialled by a handful of labels and artists.

I still cant understand what the leaking ppl thinks, do they feel good with themself what they do ? Do they need the comment from ppl at forums/p2p were he spreads that his "the man" "the king" etc, to feel good with himself, does his life get better ? do he think etc when he sees a dude with a ferrari, wow cool guy that got a car like that but I still were the first the shared armins newest tune "last niggah on earth starring myself as me" , meh this kind of ppl make me sick

Last edited by Joe Nas on Oct-09-2005 at 11:46

quote:

Originally posted by [B-O-F-H] The method I documented isnt complicated, its much easier than making 20 independent versin of a track with varying effects and samples at least, and is already being trialled by a handful of labels and artists.

Your method is perfect for bigger artists who send loads of promos out, but for someone with a copy of Reason just making tracks as a hobby my idea would probobly be simpler (and cheaper )

Edit: also it would be interesting to see how long it is until someone leaks the algorithm making the whole system worthless

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ID THESE TRACKS PLEASE

IDing tracks is like having sex, the more you get the happier you'll be!!

Want to download a Digweed set? TA ID HUNT!

Nice topic but it is hard to discuss this because in every country the situation is different.

First of all stopping the leaking proces is very very hard because promo (vinyl and cd'r) are going through a lot of hands before it gets to the person who is supposed to get it or promo's are in places were there is a lot of risk that they are being ripped.
Ok watermarking is an option but a lot of labels are fighting to survive, they simply don't have the time or money to do this.

The vinyl sales have extremeley dropped over the last couple of years. This mostly because of MP3. This is affecting not only artists and labels but also vinyl-record stores and distributors. Luckily enough there is some new way to earn some bucks because of this new legal downloading. For labels it is good because they don't have to rely on distributors anymore, who are taking a big piece in the total costs for one vinyl. On the otherhand the only way to get this legal downloading working is to offer tracks at a low price. Before getting some money as a label or artists; taxes, billing company and downloadsite has to be paid leaving little profit

Somebody said that the labels should quit sending promos and offer the track to everybody. This is really not an option, sending promos is very important. First of all new tracks can be tested when they are promo. If you send a promo to an DJ and he spins it and the crowd goes nuts then as an label you know that it is a wise decision to release that track.
Also it is important to create a hype. When you are a label and you finally signed a track that will become huge or a classic you try to get this track as big as possible hoping for a good sale. Because sales are really low at the moment you have to squeeze as much as possible to get the most money out of a track.
Big name DJ's are very important in this proces: If they play a certain record and everybody goes wild then this track will be higly anticipated for release. If this track is released without being played by the big names it simply won't sell as much.

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But on the other hand, you have tracks which are said to be classics - everyone seems to like them, the hype builds, and builds. Everyone waits for the release. Nothing. Delays, bullshit and fornicating. More delays. And it ends up being months and months before the release, which comes with some godawful comissioned remixes. In the end, the hype has died down and noone really cares about the track anymore.

Creating a hype is one thing, but creating a hype, raping the track and waiting too long is the stupid reality we have to deal with

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ID THESE TRACKS PLEASE

IDing tracks is like having sex, the more you get the happier you'll be!!

Want to download a Digweed set? TA ID HUNT!

quote:

Originally posted by THE_Chris But on the other hand, you have tracks which are said to be classics - everyone seems to like them, the hype builds, and builds. Everyone waits for the release. Nothing. Delays, bullshit and fornicating. More delays. And it ends up being months and months before the release, which comes with some godawful comissioned remixes. In the end, the hype has died down and noone really cares about the track anymore. Creating a hype is one thing, but creating a hype, raping the track and waiting too long is the stupid reality we have to deal with

That's one of the worst things that could happen to a producer[s] of any release. Like that thread about Mike Foyle/Signalrunners love theme dusk. I'm sure they suffered a big LO$$ because of all the delays.

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