DUBSTEP- breaking news, gossip, slander, lies etc

[elgato]

its the obvious next release as far as i can see

im not suprised by the waiting time at all, thats just the way it goes at this level i guess, hyperdub have been very busy of late given the size of the operation

pinch's album should clear a lot of his stuff i think. its interesting how tightly he and distance have been holding their album tracks, a different approach

but mala, im worried about, there are just too many, i cant see how its going to work unless he licenses out to other labels...im still hoping for soul jazz to come through again

 

[mms]

but then again, in Dubstep release waiting times are a bit ridiculous (see also Mala and Pinch with seemingly 100s of paradigm shifting tracks sitting on hard disks or existing as a mere handful of dub plates)

considering they are single handedly run by people with jobs as well as trying to make promote and dj music , the 6 or so eps a year run by a well motivated label seems really good to me.

 

[gek-opel]

Yes, of course you are correct, but its a bit frustrating to think that the next wave of innovations exist already, but won't actually be released for another year or so. Its a bit like with Pinch's Qawalli, which seemed to take over a year from when it first surfaced in a mix to actually being released. I guess it also functions as one way in which the elite maintain an edge over non-producers (ie those people elsewhere in the world who just DJ dubstep)- a kind of exclusivity. And perhaps therefore encourages a greater level of creative participation in terms of making people produce their own tunes to play out?

 

[viktorvaughn]

x2 post

 

[viktorvaughn]

considering they are single handedly run by people with jobs as well as trying to make promote and dj music , the 6 or so eps a year run by a well motivated label seems really good to me.

Does anyone in the grime/dubstep scene make thier living just from DJing/producing/MCing?

 

[Sick Boy]

Does anyone in the grime/dubstep scene make thier living just from DJing/producing/MCing?

See I've always wondered that too, because a lot of these producer's tunes get absolutely battered on pirate radio, but do performance royalties still apply when broadcasted on pirate radio?

I can't imagine that they do, because the stations themselves are illegal, but I'm sure RINSE could operate similar to a regular radio station and still dedicate a portion of their advertising revenue to royalties for the artists whose tunes are basically being played all day long.

Without a third-party collection agency though, that could provide to get very messy if in the hands of the wrong people.

 

[CFour]

I dont really see that happening

 

[cyst]

See I've always wondered that too, because a lot of these producer's tunes get absolutely battered on pirate radio, but do performance royalties still apply when broadcasted on pirate radio?

I can't imagine that they do, because the stations themselves are illegal, but I'm sure RINSE could operate similar to a regular radio station and still dedicate a portion of their advertising revenue to royalties for the artists whose tunes are basically being played all day long.

Without a third-party collection agency though, that could provide to get very messy if in the hands of the wrong people.

If i remember rightly there was section of "Energy Flash" where the Blissblogger mentioned dj's having to pay to go on the pirates, although this was sometime in the early 90's so things may well have changed. Is this still the case?

Either way I can't imagine rinse making much profit, with whatever surplus they have [if at all] it would make more sense to maintain the decks, mics and mixer than to pay artists who are in essence getting free advertising on the station of choice of their target audience.

I'd be interested to know of the reasons [other than credibility] behind seemingly popular stations like Rinse staying pirate if anyone is up on such things?

 

[CFour]

If i remember rightly there was section of "Energy Flash" where the Blissblogger mentioned dj's having to pay to go on the pirates, although this was sometime in the early 90's so things may well have changed. Is this still the case?

Djs still do tend to have to pay subs for each show (although im sure there are certain exceptions when it comes to who knows who etc.) However the money is used as a means to ensure the station can afford spare transmitters, studio equipment and such

 

[the undisputed truth]

I'd be interested to know of the reasons [other than credibility] behind seemingly popular stations like Rinse staying pirate if anyone is up on such things?

I'd imagine the setup costs of going legit in a dying market and an increasingly irrelevent format...

...internet will kill the radio star and the video star and the print star and the copyright collection agencies. Theyre practically zombies now anyway.

 

[gek-opel]

I too suspect there's no way Rinse for example could afford to do this. Indeed I remember reading that every so often they have a whip-round of all the DJs for funds to keep it going. Most probably think of it as a brilliant tool to practice their technique, advertise their tracks, and generally promote themselves to interested listeners, which undoubtedly it is. Also, given that the only music they play is strictly underground, any producer whose track is played would just be thankful for the attention, rather than perhaps thinking "hmm- where's my royalty check?"

 

[nomos]

I'm told that Rinse runs primarily on 'subs' (along with advertising). That is, each time a DJ or MC goes on the air they pay a fee that goes toward keeping the station running. And hopefully the Rinsesessions releases help a bit too.

The KISS FM experience would probably give a lot of clues as to what Rinse would be facing if they tried to go legit. It don't think it would be remotely the same station if it made the move.

 

[boomnoise]

rinse is funded in the ways outlined above. and tracks, even if they are from artists registred with the prs aren't elligible for payouts.

i'm more concerned with the longterm viability of pirate radio stations and their model rather than the possibility of them going legit.

and, as has been highlight, the promotional benefits of having a show on pirate radio far out weighs the finanical contribution needed to maintain them.

 

[boomnoise]

but going back to your original point sick boy, currently no artist makes all of their income from their creative work.

 

[the undisputed truth]

^^^no shit. Offhand, do you know what some dayjobs of some big names are ???

...and have you figured out who i am on that other forum yet ???

 

[boomnoise]

i do but it's not at all my place to say. although it is interesting in certain way.

and you know i do know.

 

[UFO over easy]

...and have you figured out who i am on that other forum yet ???

The emoticons on this forum are rubbish... but still...

As for rinse donating a portion of their revenue to the artists - what revenue?

 

[the undisputed truth]

bah, you're just saying that boomnoise. You have no idea or if you do you may know one, maybe 2 but not all of them. That's not even interesting anyway...

What is, is what the dayjobs of the average dubstep producer might be. Do you know any of those ???

 

[UFO over easy]

bah, you're just saying that boomnoise. You have no idea or if you do you may know one, maybe 2 but not all of them. That's not even interesting anyway...

What is, is what the dayjobs of the average dubstep producer might be. Do you know any of those ???

For fucks sake. I don't even think you're a real person. You're some kind of web bot gone wrong I swear.

 

[the undisputed truth]