dubplates/prices/affordability

elgato · Post by **elgato** » Thu Aug 16, 2007 1:47 pm

just for clarity, my post wasnt necessarily supporting serato etc... i think in a club nothing competes with dubs/vinyl, and if you're djing enough i think it'd be a shame to play off digital more than is necessary

serato/cdrs have its uses, radio etc, but on a system its not about them imo

i was just interested generally as to what the deal is. especially given the situation with radio play

westernsynthetics · Post by **westernsynthetics** » Thu Aug 16, 2007 1:55 pm

i cant afford to get dubplates made...

if i get hold of some spare cash it goes into the studio so I can make beats..therfore i play CD's or play on the laptop.

but i miss out on playing vinyl..so my set dont sound as good as the dubplate dj....but you can guarantee i have fresher dubs...im talkin shit that was bounced a few hours before the gig...how else does an Australian audence get to hear the latest choon from producer x finished 2 hours prior in sanfran ect? and We dont have as many cutting engineer's or dubplate outlets here in oz...CD's or Albelton/Serato is a much more viable option for producers and Dj's wanting to play fresh shit from around the globe.

jolly wailer · Post by **jolly wailer** » Thu Aug 16, 2007 1:55 pm

yo... did you not read my wiki citation??? vinyl dubplates last 90% as long as regular records.... have you ever played the grooves out of a record before??? didnt think so unless you're DJ scratchy-fantastic-allstar-DJ-of-global-repute (this is the world's best DJ perhaps you've never heard of him.... ultra underground, and very rough with the handling of his records...)

@ elgato... of course it'd be nice to have mastering service for your productions.. you wouldnt cause any of your Dj friends any trouble but really you've spent all your extra cash on a legitimate copy of logic.... the responsibility lies with the Dj because he/she's the one rinsing the track on a proper system and getting "paid" for it - mind you he/she are paid not for the production of the art but simply for dropping the needle on it - surely this is a square deal... producer makes the fire.. Dj approves and has the corresponding track rendered to the format accesssed in the DJ setting (vinyl)... the producers have the commodity, they dont have to kowtow and have it ready made for the Dj... they meet the DJ halfway... get it?

jolly wailer · Post by **jolly wailer** » Thu Aug 16, 2007 2:02 pm

and yes I agree @ westernsynthetics.. totally understandable about "everyone else" who isn't in on the dubplate circuit.. and yes serato/mp3 is a wonderful way to access a wealth of production being freshly churned out...

but... you wouldn't expect n-type to show up with serato now would you??? n-type is n-type because he is n-type and n-type doesn't fuck with serato and thats why n-type gets the bookings he does

(n-type)

dubwise_gamgee · Post by **dubwise_gamgee** » Thu Aug 16, 2007 2:03 pm

yooo! there is a difference between acetate and vinyl dubplates...do you know what transition cuts? i always thought it was acetate, at least that's what people say on radio all the time. and i've heard that acetate still "sounds" better than vinyl dubplate... anyway, what do i know. can't afford that anyway. for me (as a producer and dj) production equipment and the tune itself is more important. what format it's played on doesn't really make a difference as long as it is the best quality possible (NOT mp3s). i would prefer vinyl of course... but for me, personally, dubs are just a waste of my money. rather safe it up for a good compressore, equalizer and second pair of studio speakers, to master the shit myself,hehe...

elgato · Post by **elgato** » Thu Aug 16, 2007 2:06 pm

hmm i guess so, although its not like that many djs are making that much money outside of the top circle, definitely not djs who aren't also producers... things like Platform 1 cant pay much, if at all, FWD is very exclusive and locked down, DMZ is irregular, etc...

all radio (except Kiss or BBC i guess) is unpaid, in fact pirate djs pay subscription!

so should you expect people who are doing this for the love and jokes to pay to master your tracks?

in any case, purely from a self-interested perspective, surely its about taking it out of anyone else's hands and making sure your tracks will sound as fat as possible no matter what? if a radio DJ has your unmastered tunes lacking impact and sounding unbalanced/unrefined, or some other sick tune on mastered vinyl...

apologies if my tone seems aggy, i dont mean for it to

bob crunkhouse · Post by **bob crunkhouse** » Thu Aug 16, 2007 2:18 pm

Jolly Wailer wrote:and yes I agree @ westernsynthetics.. totally understandable about "everyone else" who isn't in on the dubplate circuit.. and yes serato/mp3 is a wonderful way to access a wealth of production being freshly churned out...

but... you wouldn't expect n-type to show up with serato now would you??? n-type is n-type because he is n-type and n-type doesn't fuck with serato and thats why n-type gets the bookings he does

(n-type)

and what about Plastician? one of the biggest djs in this scene, had his own radio 1 show and guess what he uses Serato..

There is so mcuh bullshit surronding vinyls and dubplates, its only the mastering that matters, if you pay for mastering and play the track as a wav on Serato its gonna be the same!

all this digital hate is so stupid...

hear so much about pushing the "Scene" forward yet most of the bigget labels and artists people associate with dubstep are onyl avaliable to buy as vinyls, which pretty much restricts there audience to vinyl based dj's...
surely this is more of an issue..

jolly wailer · Post by **jolly wailer** » Thu Aug 16, 2007 2:19 pm

yes well.. the producer/DJ dynamic is very much so close that tracks are in fact in the "best hands" when producers hand them off as exclusives.. recall hatcha having every producer who's a who under his wing in '01 - '03... this is the formula

this is why FWD is so "locked down" (or was)... its the inner circle.. this is the formula

@ dubwise... yeah man.. spend your money on compressors/tape-delays/whatnot... you dont have to worry about format, thats not your job - just dont hand out 320's to any shmoe if you value your dubs and think others should follow suit.. as I've been saying.. its the DJs job to convince you to hand him/her off a track so they can cut it to dub/rinse it out at a club... the question is do you trust them with your music.. depending on who it is perhaps you would/should.. this is the formula

jolly wailer · Post by **jolly wailer** » Thu Aug 16, 2007 2:25 pm

its because the vinyl-based DJs have stock in petroleum reserves and Nuemann lathes... ***secrets***

plastician only wishes he had a stake in the new-world-order that Dj's like n-type have...

westernsynthetics · Post by **westernsynthetics** » Thu Aug 16, 2007 2:29 pm

Jolly Wailer wrote:and yes I agree @ westernsynthetics.. totally understandable about "everyone else" who isn't in on the dubplate circuit.. and yes serato/mp3 is a wonderful way to access a wealth of production being freshly churned out...

but... you wouldn't expect n-type to show up with serato now would you??? n-type is n-type because he is n-type and n-type doesn't fuck with serato and thats why n-type gets the bookings he does

(n-type)

plenty of world class Dj's play on Serato or Ableton/CD's...Moving Ninja - Ableton, Mark Pritchard- Sereato. N- Type doesnt get gigs because he plays Dubplates...he gets gigs cause hes a shit hot DJ and producer...

bob crunkhouse · Post by **bob crunkhouse** » Thu Aug 16, 2007 2:33 pm

^^^^ exactly

incyde · Post by **incyde** » Thu Aug 16, 2007 2:47 pm

Jolly Wailer wrote: legacy has something to do with it... that and the fact and the laptop just feels... well "cheap"... I've said it before, you can't wheel up an iPod

1. it's not an ipod, it's a laptop with a serato interface, meaning yes you can wheel it up.

2. i dont think the laptop feels cheap at all... so maybe i didnt spend 30 pounds cutting ONE DUB but i would feel cheaper if i was spending my precious cash on cutting single tunes, than i would using a laptop to represent the best and freshest tunes that producers send me.

maybe when i have nuff cash earned from dj'ing then i will cut dubs but right now it just doesn't make sense for me. i LOVE vinyl trust me, i spin plenty of it when it fits into my set, but the point remains:

i wouldn't be able to bring the freshest sounds if i had to cut them all to dubplate first.

for me, the performance is the most important. i dont see the point in getting caught up in ANOTHER thread discussing vinyl vs mp3, its about the music in the end.

YES vinyl sounds better than mp3, but i care about my performance first. sound quality IS IMPORTANT yes, but shouldn't degrade the quality of the performance!!!

incyde · Post by **incyde** » Thu Aug 16, 2007 2:52 pm

westernsynthetics wrote:
Jolly Wailer wrote:and yes I agree @ westernsynthetics.. totally understandable about "everyone else" who isn't in on the dubplate circuit.. and yes serato/mp3 is a wonderful way to access a wealth of production being freshly churned out...

but... you wouldn't expect n-type to show up with serato now would you??? n-type is n-type because he is n-type and n-type doesn't fuck with serato and thats why n-type gets the bookings he does
plenty of world class Dj's play on Serato or Ableton/CD's...Moving Ninja - Ableton, Mark Pritchard- Sereato. N- Type doesnt get gigs because he plays Dubplates...he gets gigs cause hes a shit hot DJ and producer...

AMEN

incyde · Post by **incyde** » Thu Aug 16, 2007 3:04 pm

Jolly Wailer wrote: this is why FWD is so "locked down" (or was)... its the inner circle.. this is the formula

whats up with formulas?

you're saying FWD being 'locked down' is good? i hope you're aware of how much quality music is being made that can stand up to and even TOP the stuff being played at fwd but isn't being played because they're not in that circle?

shonky · Post by **shonky** » Thu Aug 16, 2007 3:22 pm

incyde wrote:
Jolly Wailer wrote: this is why FWD is so "locked down" (or was)... its the inner circle.. this is the formula

whats up with formulas?

you're saying FWD being 'locked down' is good? i hope you're aware of how much quality music is being made that can stand up to and even TOP the stuff being played at fwd but isn't being played because they're not in that circle?

Gotta love cliques though, they're just soooo cliquey

airtight · Post by **airtight** » Thu Aug 16, 2007 3:45 pm

Jolly Wailer wrote:i mean.. yeah i guess you're right... you could spend time fishing the 'dubs' section of this site collecting 320's and have a set on your hands.. all very fresh tunes..

i quite disagree wth ya here. i have plenty of exclusive tunes. i dont use an ipod. i dont cut dubs because its not cost effective to have dubs shipped to texas. if one plays wav's off of serato this kills your point about "shittily encoded MP3's" Wav files sound quite nice oever the systems here. Also, I've never seen anyone's Serato program crash in a live setting. You must have a powerful computer to run this application.

Dub has been about playing your own sound since the early days anyway. Make your own tunes, put them out there, and you'll get big tunes sent to to you as well.

To imply that Dj sets that aren't dubplate sets aren't as valuable would be off the mark. Not everyone has access to a Dub cutting house down the lane. Also the $$ saved off not cutting dubs leaves room for more studio equipment, building your own PA, etc.

Very shortly, broadband technology will be such that peeps will be sending wav's over chat modules, which willl elminate the mp3 debate completely imo

misk · Post by **misk** » Thu Aug 16, 2007 4:06 pm

If i had the money, i would press all my tracks to dubs. i dont have the money, so i dont. Instead, i've got a live set, with a buncha boxes. much more fun, and interesting.

the wiggle baron · Post by **the wiggle baron** » Thu Aug 16, 2007 4:31 pm

I just think cutting dubs to vinyl is the dream. If you can afford to, why not?

Oh, and someone made a point a while back that I contest, but I forgot what it is while reading the rest. Whoever that was, I DISAGREE.

Edit: Remembered what it was pretty sharpish like! Someone said something along the lines of "why all this hating on digital" or something. Its not hating on digital, its love of vinyl!

For example, my dad fucking LOVES steam trains. He would much rather ride a steam train than an electric modern thing, despite the fact that it would be cheaper/more efficient/more comfortable/faster/whatever to do so! Its not rational, its a passion! And I think if you start doing everything by whats more practical, life just gets very dull indeed!

Vinyl for life, dont have to explain why, I just FUCKING love it...

chef · Post by **chef** » Thu Aug 16, 2007 4:55 pm

Bob Crunkhouse wrote:
Jolly Wailer wrote:and yes I agree @ westernsynthetics.. totally understandable about "everyone else" who isn't in on the dubplate circuit.. and yes serato/mp3 is a wonderful way to access a wealth of production being freshly churned out...

but... you wouldn't expect n-type to show up with serato now would you??? n-type is n-type because he is n-type and n-type doesn't fuck with serato and thats why n-type gets the bookings he does

(n-type)
and what about Plastician? one of the biggest djs in this scene, had his own radio 1 show and guess what he uses Serato..

There is so mcuh bullshit surronding vinyls and dubplates, its only the mastering that matters, if you pay for mastering and play the track as a wav on Serato its gonna be the same!

all this digital hate is so stupid...

hear so much about pushing the "Scene" forward yet most of the bigget labels and artists people associate with dubstep are onyl avaliable to buy as vinyls, which pretty much restricts there audience to vinyl based dj's...
surely this is more of an issue..

Plastician will tell you that Dubplates merk his Serato for sound.

pangaea · Post by **pangaea** » Thu Aug 16, 2007 4:59 pm

Chef wrote:Plastician will tell you that Dubplates merk his Serato for sound.

So what would sound better, a transition mastered wav or a transition cut dubplate? And why? I'm curious...

dubplates/prices/affordability

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