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sasha interview (pg. 3)
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| SYSTEM-J |
| quote: | Originally posted by Clovis
In the end, if someone thinks its worth pressing, I doubt that makes much a difference. Happy Hardcore gets pressed to wax. |
The operative word being "worth". The worth of an MP3 release is a lot less than the worth of a vinyl one.
Sasha does have his own label. I'm sure he isn't just pulling out of thin air. It makes logical sense that if the cash investment is higher, then labels will only want to release high quality records they think will make them money back. They can afford to take risks or release lower quality material if they don't stand to lose much money. |
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| RJT |
| Cash value and artistic worth are two different things - but you're welcome to continue arguing apples and oranges if you want to. :) |
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| SYSTEM-J |
| quote: | Originally posted by RJT
Cash value and artistic worth are two different things - but you're welcome to continue arguing apples and oranges if you want to. :) |
Granted, the logic relies on "High artistic merit = high sales" being true, but you imagine that record labels would think their customers have tastes that, if not good, at least coincide with their own. Which is why people follow labels. |
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| RJT |
| quote: | Originally posted by SYSTEM-J
Granted, the logic relies on "High artistic merit = high sales" being true, but you imagine that record labels would think their customers have tastes that, if not good, at least coincide with their own. Which is why people follow labels. |
Right, I just don't think the logic of releasing a tune on vinyl or MP3 is all that different, but rather as Clovis mentioned, that the mentality of the buyer is different. It just seems like it's more of a quality control on the purchasing end than on the release end, and though it would be wonderful to think that translated into some kind of objective quality control system whereby labels only release tracks their customers are willing to spend the money on - with subjective taste being the way it is, that will never happen.
As far as the MP3 vs. Vinyl debate, and how it's affected how I personally shop for records, goes - I still think an incredible amount of good material is coming out, there's just a ton more of it that's readily available. Where I used to have to deal with sketchy record stores, long delivery times, and dicey international orders to dig and find the records I needed to own, now it takes similar (maybe even more) effort just to get through the pile of pish that is released week in and week out, the only difference is that I can do that from home. |
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| THE_Chris |
| Pretty good interview there actually, for once the interviewer wasnt asking the usual pile of rubbish of questions. |
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| DJ Blitzkrieg |
| That was a good read. I'm kinda confused on his desicion to name all the work under his name even though he clearly states that he works with a group. |
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| nsamadi |
| quote: | | “Well, I’ve got really used to Ableton now. I remember it took me a long time when I first started using it for it to feel like DJing, but now it really feels natural to me. It’s definitely a steep learning curve with it though. You can learn how to use it in the studio, but actually going out and playing live with it it’s almost like you have to teach yourself how to sound like a DJ again. If you just push fades and press buttons and stuff like that, you can end up sounding far too ‘clean’ and not like a DJ. It’s almost like you have to learn to mimic what you did before when you were playing vinyl and CDs. It’s hard.” |
I guess this explains why his transition from one track to another in recent livesets and mixes now sound less programmed and structured. I guess he's doing it on purpose...going back to the sound of vinyl mixing. |
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| SYSTEM-J |
| quote: | Originally posted by nsamadi
I guess this explains why his transition from one track to another in recent livesets and mixes now sound less programmed and structured. I guess he's doing it on purpose...going back to the sound of vinyl mixing. |
So essentially... he's switched to Ableton and had his own controller designed only for him to deliberately use it to emulate his old mixing style on vinyl? In other words, he's switched to Ableton and had his own controller designed so he doesn't have to carry records around. |
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| Paradox Lost |
| quote: | Originally posted by SYSTEM-J
So essentially... he's switched to Ableton and had his own controller designed only for him to deliberately use it to emulate his old mixing style on vinyl? In other words, he's switched to Ableton and had his own controller designed so he doesn't have to carry records around. |
That's how far we've advanced technologically: we've gotten to the point where we need to develop new technologies in order to reproduce the results of the systems they purportedly replace. :D |
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| thoughtlessjex |
| quote: | Originally posted by SYSTEM-J
So essentially... he's switched to Ableton and had his own controller designed only for him to deliberately use it to emulate his old mixing style on vinyl? In other words, he's switched to Ableton and had his own controller designed so he doesn't have to carry records around. |
Is there something wrong with that? He wants the same sound without the work of carrying it around. Sounds fair to me. It's only given that he'd have to go through a process of learning how to DJ again. |
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| Clovis |
| quote: | Originally posted by thoughtlessjex
Is there something wrong with that? He wants the same sound without the work of carrying it around. Sounds fair to me. It's only given that he'd have to go through a process of learning how to DJ again. |
Because it's ing boring and pointless. Lug your records/tracks around like the rest of us or do something cool with the ing computer imo. |
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| TranceArmstrong |
| Good interview. What do you all think of Justice / Simian Mobile Disco / Boyz Noise? Sasha says they're new and exciting. I think they're fun and all but I can't see myself spinning primarily that kind of music seriously, just screams 'hipster' to me. |
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