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It is 2009 People... Isn't everybody tired of this minimal Bull***t by Now??? (pg. 14)
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| idoru |
| quote: | Originally posted by Clovis
Cry me a river. |
No, I think it's great that people see something in their scene that they don't like. The question is, do they feel strong enough about their scene to actually step up and try to change it? Throw their own parties, work with promoters and try to get them to book certain artists, try to get booked to play a sound they feel should be played more often, or start producing as a local artist and influencing their scene that way.
It takes more than just bitching on a forum that local promoters rarely (if ever) read to change it. |
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| Clovis |
As I said before, I'm having a ing great time in this "scene".
I go to what I consider to be some of the best parties with the best music and the best DJs and the best people.
Took a while to seek it out but know I'm there and it's awesome.
If you're too ing stupid or lazy to seek out what you most enjoy, whose ing fault is that? :stongue: |
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| idoru |
Exactly my point.
I'm having a great time, as well. It's all about what you make it, plain and simple. Sure, Seattle doesn't get a lot of the artists that I'm dying to see, but you know what? I'm doing something about that. By getting out there, talking to different people and working with different people/groups I've been able to get artists out here that I've wanted to see. It might've taken a lot of work and a solid amount of time, but at least I put forth the effort to take action and bring to my scene what I felt should be a part of it.
It flat-out pisses me off to watch people bitch about something that they can change but, as far as I can tell after having asked at least one person twice in this thread, choose not to do a damn thing about. |
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| Existo22 |
There used to be a lot of record stores around. Remember?
Lots of people in the scene would visit these record stores and buy tunes. The djs love vinyl the scene loved vinyl EVERYBODY loved vinyl.
The records would come through amato syntax and watts and ship out to Europe. NY would be the first place to have records and the funny thing was that back in the day the UK vinyl was cheaper to buy in NY than it was in the UK.
So every aspiring artist would send demos to the labels out there and hope to get a release.
The labels would only release the tunes they truly liked and believed would break even and profit. They invested real money into pressing the vinyl and real money into promoting the records.
Again REAL money. REAL promotion. None of this download my myspace tune bull.
This filtered out the oportunists.
Only artists who invested time and money building a studio and a sound and labels with real purpose and direction would survive.
What did go wrong?
When the cdj 1000 first kicked off in late 2001 it set to infiltrate a vinyl industry and turn it to a cd industry. The company got the scenes main players and to sign sponsorship deals and request it to spin. So they showed up in gigs with a few cd booklets and effectively started marketing the product into the collective dance musics consciousness as the ''future of djing''. They installed it in the bigger clubs as well & promoted it in magazines until all the record collectors, fans, record labels and local djs that make up the whole market followed the trend and hopped on the cd bandwagon.
The staple image of Djs spinning records on the iconic technics 1200s was officially a thing of the past by 2004- 2005.
CDs were the future now. People stopped wanting the records.
The repercussions of this fact were record stores folding all over the world, labels going belly-up and a whole sea of badly produced, bit-wasting, electro house & minimal net-label nonsense filling the virtual crates of the digital record stores saturating the scene, watering it down to the fullest. ;) |
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| ponsshin |
| So you made a rant over minimal because of Pioneer's CDJ 1000? |
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| Existo22 |
| quote: | Originally posted by ponsshin
So you made a rant over minimal because of Pioneer's CDJ 1000? |
First of all, I am terribly sorry to break the forums code , ponsshin. In these difficult times, staying on topic is my top priority, and I only violate it now in the important interest of illustrating why the scene is in this deep hole today and why it is starting to look like a thing from the past. I’d like to take issue with you saying I am not “musically flexible.” I’m not exactly sure what that means, but I’m guessing in your mind it involves listening to the same drum loop over and over and thinking it is great. So.. come to think of it I don’t take issue. |
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| jupiterone |
lol, what? are you serious?
i used to ing play cartridges on my super nintendo...what did go wrong? oh, cd's came out. why? because they're much more efficient and cheaper to produce and duplicate than paying to create a 4x5 inch board. come the on man. as the years progress, technology progresses.
i remember sharpening my tichonderoga pencil, those were the ing days, that was all analog. then the ing clicky pencils came out. i don't mind, cause i can still buy a ing tichonderoga if i want one. same with vinyl, if i want tunes that are vinyl only, i'll go ahead and buy that vinyl, i won't complain, as much as i'd love to go into a record store and touch that and gasm in my pants, i know in most cases i can't.
what do you really expect from independent labels though? i mean seriously, they pay for all the they do, using (probably) all the profits they make from their sales of previous records. if you owned a label and you were paying for printing vinyl you'd know, the isn't cheap. if you want to keep them alive, go donate 100$ a month to a labels cause. i hate this , people expect labels and record stores to stay alive yet they do all to help the cause. the truth is, so many people have switched to cd/digital that the % of people buying vinyl has diminished over the years, greatly.
and yes, there used to be a lot of record stores around, there also used to be a lot of god damn bradlees stores around until they went out of business. happens, depends on your location and the scene in your area and how people are doing financially to see whether or not they can dish out 10$ on a record with 3 tracks as opposed to downloading it for free via piracy/50% of the price digitally. hell, if i owned a second turntable, i'd be playing vinyl only, but i don't because i don't have the cash to spend as of yet, but i still buy as much as i can and i try to support artists who i KNOW deserve to be supported.
and don't start talking about promotion/marketing. people didn't have it as easy as kids do nowadays with promoting themselves to billions of people worldwide via the net. they had to the do it person to person, flyer by flyer. and lastly, there was a load of horrid tracks on vinyl as there is on digital, maybe not in such quantities, but there was. the reason so much gets released now is because it's SO EASY! it's so easy to get a file on the internet and be like, "hey, this 'could' be good, i'll release it." it's simple, technology has made it sample and cost efficient. go print some of your tracks on vinyl and tell me how much it comes out to. i did, just to have two of my tracks on vinyl, wasn't pretty to my pocket. i remember sending tracks to a label that i knew were ing horrible, and they got accepted. i won't tell you what alias they got released until, but it's embarrassing to know that you can release tracks that are so bad, simply because it's so ing simple and efficient.
i'm not trying to be a dick, but damn. |
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| idoru |
| quote: | Originally posted by Existo22
There used to be a lot of record stores around. Remember?
Lots of people in the scene would visit these record stores and buy tunes. The djs love vinyl the scene loved vinyl EVERYBODY loved vinyl.
The records would come through amato syntax and watts and ship out to Europe. NY would be the first place to have records and the funny thing was that back in the day the UK vinyl was cheaper to buy in NY than it was in the UK.
So every aspiring artist would send demos to the labels out there and hope to get a release.
The labels would only release the tunes they truly liked and believed would break even and profit. They invested real money into pressing the vinyl and real money into promoting the records.
Again REAL money. REAL promotion. None of this download my myspace tune bull.
This filtered out the oportunists.
Only artists who invested time and money building a studio and a sound and labels with real purpose and direction would survive.
What did go wrong?
When the cdj 1000 first kicked off in late 2001 it set to infiltrate a vinyl industry and turn it to a cd industry. The company got the scenes main players and to sign sponsorship deals and request it to spin. So they showed up in gigs with a few cd booklets and effectively started marketing the product into the collective dance musics consciousness as the ''future of djing''. They installed it in the bigger clubs as well & promoted it in magazines until all the record collectors, fans, record labels and local djs that make up the whole market followed the trend and hopped on the cd bandwagon.
The staple image of Djs spinning records on the iconic technics 1200s was officially a thing of the past by 2004- 2005.
CDs were the future now. People stopped wanting the records.
The repercussions of this fact were record stores folding all over the world, labels going belly-up and a whole sea of badly produced, bit-wasting, electro house & minimal net-label nonsense filling the virtual crates of the digital record stores saturating the scene, watering it down to the fullest. ;) |
So now you're switching from a rant about "Minimal/underground" to a debate about how the DJ'ing format has caused the market to become saturated? Okay. However, I'm not going to sit here and fall into that debate with you when it has been done a hundred times over in its own separate threads.
What I'm trying to get at (and what you have failed to answer three times now) is not about how we got here. We can't change that and we can only go on and on about how certain things affected certain other things. What you really should be thinking about is what are you going to do to change things and make it better?
You sit there and piss and moan about how much digital record stores are saturating the scene. Yes, but they're saturating it just as much as actual record stores did years ago. I bought vinyl records, I've spent hours upon hours in shops digging through crates. I also do the exact same thing online now. Those who truly care about the music do spend hours sifting through all of the bull on these websites you discuss, just like they sifted through all of the ty wax that record stores carried. Yes, there was a lot of that was pressed to vinyl when it was popular. People had to dig through all of that in order to find the gems.
Which is exactly what you should be doing in order to remedy your problem.
Stop bitching about how we got here and start brainstorming about how you can fix it so that the future will be better. |
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| ponsshin |
| quote: | Originally posted by Existo22
First of all, I am terribly sorry to break the forums code , ponsshin. In these difficult times, staying on topic is my top priority, and I only violate it now in the important interest of illustrating why the scene is in this deep hole today and why it is starting to look like a thing from the past. I’d like to take issue with saying I am not “musically flexible.” I’m not exactly sure what that means, but I’m guessing in your mind it involves listening to the same drum loop over and over and thinking it is great. So.. come to think of it I don’t take issue. |
Yes I do enjoy listening to the same loop for 40 minutes when i make music. |
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| Nostalgic |
| quote: | Originally posted by Clovis
As I said before, I'm having a ing great time in this "scene".
I go to what I consider to be some of the best parties with the best music and the best DJs and the best people.
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PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK
PLINK PLONK |
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| nefardec |
| quote: | Originally posted by Existo22
There used to be a lot of record stores around. Remember?
Lots of people in the scene would visit these record stores and buy tunes. The djs love vinyl the scene loved vinyl EVERYBODY loved vinyl.
The records would come through amato syntax and watts and ship out to Europe. NY would be the first place to have records and the funny thing was that back in the day the UK vinyl was cheaper to buy in NY than it was in the UK.
So every aspiring artist would send demos to the labels out there and hope to get a release.
The labels would only release the tunes they truly liked and believed would break even and profit. They invested real money into pressing the vinyl and real money into promoting the records.
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I agree with you and prefer vinyl as well.
But this really has nothing to do with minimal techno lol. It resulted in poor quality across the board. |
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