Dubstepforum.com

great points from both sides of the argument...all that being said...
there ought to be a proper release of the original version

skream should fund the release.

The record should be withdrawn from sale

In court I'd say disgorge all profits from the sales and licensing, plus maybe damages for the amount the song contributed to Skream's goodwill, which from people's opinion of the skream track, is not very much. This taking is so wanton, at least in the states, statutory damages are in order, as well as all compensatory damages could be trebled. That could actually ad up for Dr. Skreamenstein.

But they should just work out a deal, skream gives x portion of sales and transfers back all licensing rights (of total sales, not just his cut after label). That seems fair, no harm no foul, a little publicity for the website and author of that work can't hurt.

did any of you actually LISTEN to the midi file?


there's plenty of changed notes and stuff.

gj production forum

Has anyone linked Skream to this thread?

I would like to hear what he has to say on it before I open my big mouth.

serox wrote:Has anyone linked Skream to this thread?

I would like to hear what he has to say on it before I open my big mouth.

Yeah it would be nice...........

He is a pretty straight talking guy so Im sure he would put forward a convincing argument.

So come on Skream..... Lets hear it.

mekha wrote:It's all about the hype that everyone has build on the genre.. I mean we have really build high hopes on the producers that are pushing the scene.. Then you catch up this shit and its kind of dissappointing you really expect more from these guys..
I remember when I saw that Benga's producer masterclass, man thats some really amateur shit, I respect the man doing some music but the techniques he shared were absolutely ridiculous.

Another example is Mescaline Cola by Zomby -Which uses a raw beat from a sample pack i downloaded recently, and it was disappointing as well.. But then again, It's just the high hopes i had on these guys, because as a producer myself appreciate the effort put on a track, from sound design to composition. (Btw I can upload that sample if anyone wants it)

I can't remember which particular parts...but I know what your talking about.

but then I thought, 'the man makes higher quality music than myself'

yong wrote:did any of you actually LISTEN to the midi file?


there's plenty of changed notes and stuff.

gj production forum

I'll agree that most of it has been changed, but the actual main part (part that makes you go... oh that's blue eyez) of the song is almost identical.

mekha wrote:(Btw I can upload that sample if anyone wants it)

Upload the sample

So I'm guessing no one actually listens to reggae music here



lifting a riddim and putting yr retouch on it is absolutely fair game, knowing its origins are up to the educated listener, so the question of credit mentioned where credit is due isn't that important.. this tune is being judged in the wrong way entirely



how many producers have redone sleng teng, stalag riddim, bam bam, tempo riddim etc etc etc ??? too many, thats where reggae music is coming from



big up skream

[quote="jolly wailer"


how many producers have redone sleng teng


big up skream[/quote]


Everyone haha.

I wonder how many people are going to 'remix' blue eyez now haha.

and sleng teng was made with a casio preset


"there are a couple of conflicting stories about the true origin of the sleng teng riddim. probably the most true one is that back in 1985, wayne smith discovered the rock preset of noel daveys casio mt-40 home keyboard. they then slowed it down and matched it to waynes key before they took it to jammys studio. the preset itself seems to be an attempt to recreate eddie cochran's "somethin' else".


after lloyd james (father jammys) first heard the tune, he added some keyboard sounds and recorded a couple other artists on it, including johnny osbourne and his legendary "buddy bye"-tune, and tenor saw's "pumpkin belly". those tunes didnt get played in public at all until the 23rd of feb, 1985 in a famous soundclash at waltham park rd. against black scorpio.


shortly after, almost every sound on the island had an own cut of this riddim. prominent examples are the "computer rule" riddim on sunset, the firehouse version which anthony red rose used for its "under me fat thing", black scorpios cut and probably another million cuts, which were dubbed into another 1000 versions of it. sleng teng probably is the most versioned riddim of all times."

LOLZ @ that site

number 1: if they didnt want people to use them why did they create/host them

number 2: its just another type of sampling no reason to get all butthurt

apologies for bringing this back into the argument..but would you have dug up this theory if it was me that 'thieved' this track?

discuss and entertain please!

if u were some famous guy then yes cuz if you werent i would never have known

hey its skream just lettin u no i dont give a shit so haha suckaz

86 position wrote: I can't remember which particular parts...but I know what your talking about.
but then I thought, 'the man makes higher quality music than myself'

I was not trying to sound like an ass but i really failed at that. I guess i was angry because i have been working these days on a riddim for reggae band and its has not been an easy task.. I raged a bit on the forum and I'm sorry.

I guess we all have been in the same position but .. man its just the hype.. all those reviews i readed everywhere about that track, haha

Lets just ignore this

Indeed, its just a big wet odorless fart.

jolly wailer wrote:So I'm guessing no one actually listens to reggae music here

This is the production forum. Did you honestly expect anyone with musical knowledge here?

Big up skream.