questions you are dying to ask but are too scared to b/c of music nerd cred?
- Thread starter toasted
- Start date
Benny Bunter
Well-known member
jambo
slip inside my schlafsack
The S2000 came out in late '95 so I would say the classic Jungle setup was probably based around the S1000?The classic setup seemed to centre around an Akai S2000 and a Mackie desk (upgrading to the S3000 or the EMU samplers later on).
Atari ST with Cubase or Notator for sequencing
Also the Roland S-770/760/750 samplers had some very nice features for break editing / looping, and you could plug a screen and mouse in.
But yeah, the main point is that the music was mostly made on samplers and Atari STs.
^ Yeah, the Akai S950 was a big one. It seemed to me at the time that everyone was using one... I remember Gerald using it, but am not sure if I can find a quote. Am 100% definite Rob Playford (and presumably therefore lots of Moving Shadow stuff) used one. Also heaps of hip-hop producers I was interested in at the time - Primo, Prince Paul, Dre, et al.
Has the classic options for jungle business - fairly comprehensive timestretch options for the time, good old transpose (for pitching those amen snares up and down) and reverse / bi-directional looping.
Has the classic options for jungle business - fairly comprehensive timestretch options for the time, good old transpose (for pitching those amen snares up and down) and reverse / bi-directional looping.
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Right, I'm too young to remember 'ardkore (born 85) but it just dawned on me, reading a piece about pirate radio in The Wire, that back then if anyone wanted to play out an unreleased track they had to cut it to dubplate. There was no Serato or CD-Js.
I'm well aware of the practice of lots of DJs cutting dubplates regularly from dubstep but surely there must have been hundreds of DJs, in London alone, playing every week on pirate radio. Were there even enough cutting studios to meet demand?
I pretty much know what the answer's going to be. But still it just struck me as pretty mad given how many DJs there must have been and how fierce the competition to have the freshest dubs must have got.
Plus, on a related note, cutting dubs has surely never been a cheap exercise. Given the general dominance within the 'nuum of the working class has there never been real tension between economic means and the expense of staying on top of the game DJ-wise, particularly given how intrinsic dubplate culture seems to have been over the past 20 years? I realise that DJs obviously get money for playing gigs but, surely, there was some kind of economic tension going on?
I'm well aware of the practice of lots of DJs cutting dubplates regularly from dubstep but surely there must have been hundreds of DJs, in London alone, playing every week on pirate radio. Were there even enough cutting studios to meet demand?
I pretty much know what the answer's going to be. But still it just struck me as pretty mad given how many DJs there must have been and how fierce the competition to have the freshest dubs must have got.
Plus, on a related note, cutting dubs has surely never been a cheap exercise. Given the general dominance within the 'nuum of the working class has there never been real tension between economic means and the expense of staying on top of the game DJ-wise, particularly given how intrinsic dubplate culture seems to have been over the past 20 years? I realise that DJs obviously get money for playing gigs but, surely, there was some kind of economic tension going on?
john eden
male pale and stale
Seems to me that most people on pirates didn't just play dubs, there were a lot of released tunes as well. Most pirates were only operating at the weekend...
Plus there were a good few cutting houses, often with queues.
Not so sure about the economics, but obviously there would have been a relationship between being big league and income and how much cash you have to cut a plate.
Plus there were a good few cutting houses, often with queues.
Not so sure about the economics, but obviously there would have been a relationship between being big league and income and how much cash you have to cut a plate.
owengriffiths
Owen
Surely this was the same for Dubstep prior to it blowing up in 06 and the advent of worldwide bookings. Cutting plates could presumably be such a cost that DJing clubs became a loss making job rather than an earner.
I guess so but the issue would have been on a far smaller scale within dubstep because you only really had Hatcha, Youngsta, Kode9 (who, I am presuming would be a little better off if he used to be a lecturer) and possibly Skream and N-Type. Whereas surely back in the 'old days', there were far more DJs.
I'm not sure that last bit about economics really stands up to scrutiny but thought I'd put it out there and see if anyone else had any thoughts.
UFO over easy
online mahjong
what makes you say that? there will have been a lot more people than that cutting
i wasn't around but it definitely wasn't strictly dubplate on the pirates either. it seems like everything anyone ever plays on radio these days is unreleased but everyone's a producer now, that's how it looks to me anyway
true dat, you've just identified people who you can definitely call dubstep who are still around.
Client Eastwood
Well-known member
What language is the female vocal on Death is not Final by Shackleton in ?
The nearest I can write is :
...
ooo an so dee im in hall a yeeeee
ooo shifna house shalom all i herrrrrr
etc
this was madding up my head all last night.
The nearest I can write is :
...
ooo an so dee im in hall a yeeeee
ooo shifna house shalom all i herrrrrr
etc
this was madding up my head all last night.
Does anybody else find that the music playing in the background in most of the Soho record shops (BM, Phonica, etc) is too loud to comfortably enjoy or sometimes even hear the records you're listening to? Or alternately, get really annoyed that the shop (eg. Sister Ray, Soul Jazz) won't entrust something as simple as changing the volume on the amp to the customer?
john eden
male pale and stale
They're all deaf, I swear.
It is really maddening when you are trying to hear a tune on their turntable and you have to hold the headphones about a foot away from your ear.
Client Eastwood
Well-known member
came across this while loafing at work. this clip looks like it comes from a documentory, does anyone know the name of it ?
i thought it was urdu or arabic... could be wrong. will listen again
Client Eastwood
Well-known member
I dont think its urdu, possibly arabic, I just cant put my finger on it at all. Thing is in term of musical scale it doesnt sound eastern or western. I wonder if he fed it through some software to disguise the scales too.
hint
party record with a siren
It's a BBC production called Beats Of The Heart from 1977. Think they did a short series concentrating on different genres for each show.
Good documentary with lots of nice studio footage - Mighty Diamonds, Lee Perry, Jimmy Cliff etc. Should be easy to find on torrents. I've had the mpeg for a while - I'd upload it but it's over 500MB and I have a super slow connection.
Here's another bit:
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