JimmaJamJamie wrote:Yeah they are. Read an interview with Pearson Sound though and he was saying:
Pearson Sound wrote:Well we [Hessle] used to provide tracklists for everything, but we just kind of stopped. There’s been a lot of people nicking other people’s selections… not so much me, but like Ben [UFO], who’s not a producer, his pure appeal is in his selection, and he’s put a lot of hours, and sweat, and love into finding these records, only so someone can read his tracklists, and buy them in five minutes on Discogs… I mean why does he have to give a tracklist? If you ask Ben what a track is, most of the time he’ll tell you anyway.
So dunno if one will get put up.
This is the stupidest reason ever. I thought djs were meant to be promotors of new music.
really? i thought they were for dancing? what about dj's that play old music??
i'm glad that a ben ufo set is a ben ufo set... if everyone had the tunes that oneman and ufo had in their bags their sets would be less special imho
JimmaJamJamie wrote:Yeah they are. Read an interview with Pearson Sound though and he was saying:
Pearson Sound wrote:Well we [Hessle] used to provide tracklists for everything, but we just kind of stopped. There’s been a lot of people nicking other people’s selections… not so much me, but like Ben [UFO], who’s not a producer, his pure appeal is in his selection, and he’s put a lot of hours, and sweat, and love into finding these records, only so someone can read his tracklists, and buy them in five minutes on Discogs… I mean why does he have to give a tracklist? If you ask Ben what a track is, most of the time he’ll tell you anyway.
So dunno if one will get put up.
This is the stupidest reason ever. I thought djs were meant to be promotors of new music.
I couldn't agree more that Ben UFO is an excellent DJ but that's all he is. I don't really think that hiding a track name would exactly help Girl Unit in any way. As a producer, he's more important than Ben in this case and if I produced a track everyone liked, it would be kind of nice if people knew it was my track. I know it's the way thing work in dubstep (or whatever it's called now) culture, but sometimes it doesn't make a lot of sense to me.
JimmaJamJamie wrote:Yeah they are. Read an interview with Pearson Sound though and he was saying:
Pearson Sound wrote: his pure appeal is in his selection, and he’s put a lot of hours, and sweat, and love into finding these records, only so someone can read his tracklists, and buy them in five minutes on Discogs…
Isn't that the POINTof producers giving tracks to DJ's for free....to promote the music and SELL RECORDS?
The ego of DJ's continually amazes me...
The joy in discovering new music and sharing it with other people is the end in itself. Constantly looking for new music and keeping it fresh WILL get you booked. Finding a good mix and rinsing it out for 7 months (Andy C, anybody?) is hardly "work", it's being lazy, and its a pitfall good DJ's avoid.
fractal wrote:
really? i thought they were for dancing? what about dj's that play old music??
i'm glad that a ben ufo set is a ben ufo set... if everyone had the tunes that oneman and ufo had in their bags their sets would be less special imho
it's not about promoting or selling shit
imho
What make mixes special are not the tunes themselves, it's how they're used in contrast to one another, to create emotional peaks and valleys.
If some bedroom DJ who stole access to everything Pearson Sound and Silkie had in their bags and threw together a mix there is no guarantee it would be a good mix or that anyone would bother to listen to it.
same culture that has issues with dubplates, tunes taking years to come out or never getting released, etc...
And it's idiotic. Producers crying and whining about not making ends meet because they hold onto old-ass tunes that have been rinsed to death by every DJ on the planet and then act shocked when they're finally released and it only sells 5000 copies.
Top DJs need access to VIP tunes for 2-3 months tops. At that point they need to hit the stores while they're still hot. This topic has been covered time and time again on a certain major DNB forum BTW...
Does any one have id on the tune at the start of this mix... presumably the last tune Rama/Pearson Sound plays, sounds like one of his own productions/remixes even
same culture that has issues with dubplates, tunes taking years to come out or never getting released, etc...
And it's idiotic. Producers crying and whining about not making ends meet because they hold onto old-ass tunes that have been rinsed to death by every DJ on the planet and then act shocked when they're finally released and it only sells 5000 copies.
Top DJs need access to VIP tunes for 2-3 months tops. At that point they need to hit the stores while they're still hot. This topic has been covered time and time again on a certain major DNB forum BTW...
Fully disagree with those who feel entitled to tracklists. Pearson Sound's point is well taken- as a DJ, you want to be known for your selection, for playing tunes no one else has. Tunes that make people go "THAT is a Oneman/Ben UFO/etc tune." Dubplate culture, and DJ culture in general I would argue, is about having exclusives. Not exclusives meaning 'the newest tunes,' but tracks that you search through a dusty crate with 45 pieces of shit and find that ONE gem of a tune. And it's yours. And no one else may have ever heard of it. I've never ID'ed some of the tunes that certain DJs have played, and to be honest, that's fine- because as a DJ it's all about looking for that stuff yourself. With the internet and Tune ID forums, it's very easy to just ask a question and have it answered. And that is boring to me.
Obviously, from a business standpoint it makes more sense to use T/Ls as a promotion for upcoming music that a label is putting out. So I do like them in that regard. That said, if a DJ doesn't provide one, it's a thrill to seek out the music s/he plays. As for dubs, I agree that taking forever to release a tune in high demand really makes 0 sense from a practical, business level and it seems like it just creates animosity between the listener/fan and the artist.
Girl Unit is the shit right now, I read a comparison between him and Lex Luger... not too far off. I reckon he could make it big in hip hop production, on the cheesier US side of things but still
skimpi wrote:
tacospheros wrote:you sir are one of those things on a door which you turn in order to open it
