320'S 320'S 320'S

[thinking]

believe it also HELPS
quality control in a certain way as well. IMO it could
possibly push people to learn more and to only get
better and better at producing beatz.

that's all well and good, but no I don't think it helps to have millions of low quality tunes floating around in a scene, especially when a lot of DJs appear to equate 'unreleased' with 'good' (as I mentioned before).

the rise of digital technology, from cracked copies of Reason and Yousendit to cheap CDRs and CDJs, has significantly lowered the cost threshold of producing, sharing and playing tunes out, without any inherent form of regulation. Producers want their name to get out there, so they're whacking out shitloads of tunes for DJs to play in 320 mp3 format, often it seems with little consideration of whether it's the very best of what they can produce.


This is why the often-hated 'dubplate culture' can be a useful thing - do you really think all these DJs would be playing all these tunes out if they had to pay £25-£30 minimum to cut a dbl-sided plate?? No fucking way. Same with vinyl releases - to use an obvious example, the DMZ guys have reams of incredible tunage in their arsenal, but it's literally only the very best which make it to wax, and this is after considerable time road-testing on plate in the clubs.


That's what I mean when I say quality control. It may seem negative/elitist but it's not. It just works.

[dstepz]

"320" is like the pain in the ass. Trust me, its all about "640" next year

[j_j]

believe it also HELPS
quality control in a certain way as well. IMO it could
possibly push people to learn more and to only get
better and better at producing beatz.

that's all well and good, but no I don't think it helps to have millions of low quality tunes floating around in a scene, especially when a lot of DJs appear to equate 'unreleased' with 'good' (as I mentioned before).

the rise of digital technology, from cracked copies of Reason and Yousendit to cheap CDRs and CDJs, has significantly lowered the cost threshold of producing, sharing and playing tunes out, without any inherent form of regulation. Producers want their name to get out there, so they're whacking out shitloads of tunes for DJs to play in 320 mp3 format, often it seems with little consideration of whether it's the very best of what they can produce.


This is why the often-hated 'dubplate culture' can be a useful thing - do you really think all these DJs would be playing all these tunes out if they had to pay £25-£30 minimum to cut a dbl-sided plate?? No fucking way. Same with vinyl releases - to use an obvious example, the DMZ guys have reams of incredible tunage in their arsenal, but it's literally only the very best which make it to wax, and this is after considerable time road-testing on plate in the clubs.


That's what I mean when I say quality control. It may seem negative/elitist but it's not. It just works.

[inspector]

believe it also HELPS
quality control in a certain way as well. IMO it could
possibly push people to learn more and to only get
better and better at producing beatz.

that's all well and good, but no I don't think it helps to have millions of low quality tunes floating around in a scene, especially when a lot of DJs appear to equate 'unreleased' with 'good' (as I mentioned before).

the rise of digital technology, from cracked copies of Reason and Yousendit to cheap CDRs and CDJs, has significantly lowered the cost threshold of producing, sharing and playing tunes out, without any inherent form of regulation. Producers want their name to get out there, so they're whacking out shitloads of tunes for DJs to play in 320 mp3 format, often it seems with little consideration of whether it's the very best of what they can produce.


This is why the often-hated 'dubplate culture' can be a useful thing - do you really think all these DJs would be playing all these tunes out if they had to pay £25-£30 minimum to cut a dbl-sided plate?? No fucking way. Same with vinyl releases - to use an obvious example, the DMZ guys have reams of incredible tunage in their arsenal, but it's literally only the very best which make it to wax, and this is after considerable time road-testing on plate in the clubs.

So what you're saying is that it's okay for DMZ to use club audiences for testing material that they're not sure of, while it's not okay for everybody else to play unreleased stuff?

[inspector]

I can't see the problem with 320's. What I hate, on the other hand, is that every single tune that gets posted on here gets bigged up even if it's complete toilet. People need to be told if they're crap producers - otherwise we will have all these IDOL kids running around thinking they're god's gift to dubstep.

But I have gotten some ill beats in here that I have played out with great succes - from Lyacon, Lurk & Gully, SDM, Lone Wolf and Docwra. And some of these guys are trying to push the boundaries in a scene where all the official releases sound the same. Wob-wobble-wobble-wobble-wob-wob-wobble-wobble.

[oslek]

I can't see the problem with 320's. What I hate, on the other hand, is that every single tune that gets posted on here gets bigged up even if it's complete toilet. People need to be told if they're crap producers - otherwise we will have all these IDOL kids running around thinking they're god's gift to dubstep.

Its all down to personal taste though surely? True, every tune put up on here does get bigged up, but I'd assume thats because someone actually enjoys listening to it?! Who gives a shit if some of us think these tunes are wack if this is the case; there's plenty of commercially available tunes on good labels that I reckon are boring as fuck as well.

On the other hand, people should say when they don't like a track in order to stop producers developing an massive ego.


Zomby - Hit me up with some beats on wma 80kbps, safe.

[south3rn]

As the culture grows, this issue will surely
grow right alongside it. Maybe the dubplate culture
will help it maybe it won't.

[Shurgs]

I know I def wouldn't have found out more on peeps
like Kion, Scaramanga, Selector Moldy, XI, Reform, Municiple
Tes La Rok, Matty G, Parson, Zomby [check is in
the mail!!] and who knows whom else I can't remember . . .
if not via this forum and people posting up tunes/links/sets etc.

Not to mention it's wickedly worldwide up in here.

Being stateside [and almost isolated to a certain degree],
it's especially great to see some quality North American
stuff being pumped out as well as heads come together on
this side of the world.

I def don't mind listening to a few shitty tunes to hear
that one that hits it, personally, just right.

Great way to kill some downtime at work!

[digital]

And some of these guys are trying to push the boundaries in a scene where all the official releases sound the same. Wob-wobble-wobble-wobble-wob-wob-wobble-wobble.

[j_j]

^ yh man..like the problem some people had with off beat skanks LOL.

[parson]

the rise of digital technology, from cracked copies of Reason and Yousendit to cheap CDRs and CDJs, has significantly lowered the cost threshold of producing, sharing and playing tunes out, without any inherent form of regulation.

equipment being available to only rich people is not a very good forum of regulation.

shit tunes existed before cracked copies of sequencing software was widely available.

its possible that there are too many 320s floating around, but its really damn hard to get people to pay attention to you when nobody knows who you are.

[j_j]

best thread in the room after all that BITCHING!!!lol

[two oh one]

the rise of digital technology, from cracked copies of Reason and Yousendit to cheap CDRs and CDJs, has significantly lowered the cost threshold of producing, sharing and playing tunes out, without any inherent form of regulation.

equipment being available to only rich people is not a very good forum of regulation.

shit tunes existed before cracked copies of sequencing software was widely available.

its possible that there are too many 320s floating around, but its really damn hard to get people to pay attention to you when nobody knows who you are.

I agree. Shit tunes have always been around, but don't we need them in the context of a mix? I've heard mixes where every track was great and the results were boring and flat. Throwing a few naff tracks in there gives it peaks and valleys and makes it work. I'm really digging the Berlin art electro scene at the moment - Some really thick, lush and well produced tracks juxtaposed against really thin, weedy tracks that sound just totally wrong, but it works simply because of the contrast.

Elitism and gear snobbery is always annoying. I'm amazed at what I'm hearing from people with Fruity loops or Reason, cracked copies or not. There's some fucking amazing tunes out there and on here, done with minimal gear.
I've got a pretty insane kit list with some extremely expensive pieces of gear, yet my arse is being kicked by teenagers with fuck all gear and hella inventiveness. This is the most important thing for me to remember and keeps me humble.

320s. If somebody enjoys listening, it's no problem for there to be tracks that are sub par to be out there? Isn't this supposed to be 'art'? Totally subjective, not just measuring up to whatever is already out there.

What drew me to this scene was the open minded nature of the people in it - People being up for anything. Welcoming new sound, nurturing new talent.

I agree that there should perhaps be some constructive crit on here, but doesn't it depend on who is giving the crit? Another producer is going to do a technical crit, but isn't it just nice to know if regular listeners actually like it or don't? A regular listener or DJ might big up something if they like it, whilst miss the fact that the bass and the kick are competing for freq space. Does this really matter?

[misk]

i say let all these kids release tunes nonstop. i say flood the place with 320s. the cream will rise to the top, as someone said in this thread earlier. Also, more tunes means more competition (friendly, that is).

most of the stuff ive made wouldn't get pressed on a dubplate if it were up to me (as a matter of fact, even the stuff people like, i think is shit ) but like thinking said earlier, the guys at DMZ probably have a ton more tunes that are unreleased, than they do released tunes. You make 40 tracks, and you hope to get a few bangers out of it.

or... you can spend a lot of time making a track everything it can be.

I think that a ton of 320s is good, and does nothing negative for the scene... unless people play out shit tunes, but then those people dont get called back to the decks. popular opinion rules more than anything. look at hip hop.. there is a LOT of underground SHIT in hip hop, but theres also the good stuff too. The bottom line here is that as a musical genre becomes bigger, and more inclusive, theres gonna be more shit as well as more gems. Its yor job to sort through em, and bring what you think is best, to the listeners.

im feelin kinda scattered right now...