Dubstepforum.com

collige wrote:

the tits wrote:Love to know if/where Deep Medi stuff is available in lossless... I like vinyl fine but digi is easier, better for the enviro too (and my wallet) since I don't have to ship

City Limits WAVs are on Bleep but that's it to my knowledge.

bagelator wrote:neither horrorshow nor mud got digital release

esfandyar wrote:

bagelator wrote:neither horrorshow nor mud got digital release

on bleep they did. for a fact.

whitelight wrote:

Pistonsbeneath wrote:people that laptop dj/mix should use it to it's fullest potential basically

if theyre just mixing on drops using ableton track after track with no interesting jiggery pokery happening then they lack imagination

you cant achieve as much with decks as you can with ableton

Word. Anyone saying otherwise is a moron or doesn't know anything about ableton.

Ableton offers waayyy more possibilities. Thing is, if I'm listening to someone mixing live with Ableton, I'm expecting him to use these possibilities.

esfandyar wrote:

narcissus wrote:to some of you is about how good the DJ is at beatmatching with vinyl, but look around... do the people on the dance floor give a damn? no, they're trying to have a good time. you should be getting into that spirit instead of flipping a bitch about what the DJ uses to make the woofers move.. cuz honestly that's just negative energy period, and that's exactly what we don't need in this world, and especially this movement we have going...

fuck that dude. i have such a better time when i hear djs creatively mixing, double dropping, rinsing tunes, and keeping the dancefloor rolling rather than an abrupt switch or a horrid trainwreck. Beatmatching is DJing 101, PERIOD. My problem is looking around on the dancefloor and being disgusted with the fact that people dont give a shit how the performer is "performing", who all paid good money to get into a club, only to hear music being played as if the guy just bought his first setup and thought he was a fucking dj! You have a point when you say people don't give a damn, no most dont, but fuck them. Does that mean that because they have low expectations and standards that every human can now go buy abelton or two tables and become a performer and run a night?

2manynoobs wrote: lol, now don't get all upset about this mate.
It's like vulva said: dubstep is a vynil culture, it's meant to be played on vynil. If you want to hear ppl press buttons, making live music with analog gear (like vynil is analog) then you go to see them, i would too. But i would personally hate someone who's making live dubstep. It would be so cheap. You just can't construct something like what the true dubstepproducer make, that sounds decent to play live. You can't play dubstep in another way then spinning the tunes. You simply can't reconstruct a sick compition like the tune itself for live. So -> vynil is the way to go.
What is meant to play live is experimental electronic music, like -i can't think of a better example than Sphongle, or Younger Brother. Those guys are fucking genious. I don't say it's impossible to do something like that with dubstep, but it would take more than a fucking digital computer (yah, coz computers is digitl ) to do it.
Rumour is that Mount Kimbie are constructing something, even with guitar Can't wait to hear that

narcissus wrote:

esfandyar wrote:

narcissus wrote:to some of you is about how good the DJ is at beatmatching with vinyl, but look around... do the people on the dance floor give a damn? no, they're trying to have a good time. you should be getting into that spirit instead of flipping a bitch about what the DJ uses to make the woofers move.. cuz honestly that's just negative energy period, and that's exactly what we don't need in this world, and especially this movement we have going...

fuck that dude. i have such a better time when i hear djs creatively mixing, double dropping, rinsing tunes, and keeping the dancefloor rolling rather than an abrupt switch or a horrid trainwreck. Beatmatching is DJing 101, PERIOD. My problem is looking around on the dancefloor and being disgusted with the fact that people dont give a shit how the performer is "performing", who all paid good money to get into a club, only to hear music being played as if the guy just bought his first setup and thought he was a fucking dj! You have a point when you say people don't give a damn, no most dont, but fuck them. Does that mean that because they have low expectations and standards that every human can now go buy abelton or two tables and become a performer and run a night?

whatever, dude. you're clearly not worth arguing with because you're not willing to see my point of view.
i see what you're saying -- you like the music to flow nicely. i don't disagree...

what i do know is this....
if we went to the club and the DJ was playing good music but just pressed a button to play each track, i'd be having a great time dancing with cute chicks and getting hyped up.
you'd be getting pissed off about it and ruining your own night.

you gotta just learn to relax and enjoy man..

Skepsis wrote:Why do you care,what is a real dj? Honestly unless you scratch whats so difficult, i guess vinyl would be harder but dude i dont get to go to raves but id imagine most people dont use vinyl much so to me its all the same once you step away from vinyl...

alien pimp wrote:i'd even say dj-ing has to be as easy as possible so all your focus can be on the stuff that matter: creativity and spontaneity and communication with the audience

the tits wrote:

alien pimp wrote:i'd even say dj-ing has to be as easy as possible so all your focus can be on the stuff that matter: creativity and spontaneity and communication with the audience

I agree, why not take some of the load off to concentrate on other aspects, makes perfect sense, that's what technology is for

2manynoobs wrote:hitting cans with sticks

Theo Parrish wrote:I’m pretty sure Herbie didn’t want this digitally downloaded. I’m pretty sure. He probably didn’t even have it in mind to have it spun somewhere, DJed or pitched up and down. But the idea is when you pitch something up and down the record still remains a record. When you take it out of this form you no longer associate this imagery with that individual, these sounds. Now they become abstract concepts. “Who’s Herbie Hancock? Who gives a fuck, I got that song.” See that’s where it goes, and that’s the danger. It’s convenient, ain’t got to carry around records. Ain’t got to worry about customs. You can bring your whole collection to a party. Your whole collection? I mean, I walk into a party and I know you got access to 50.000 records. 50.000! You know what I’m going to expect out of you? I’m going to want my DNA changed! (laughter) You’re going to have to change my DNA because you got 50.000 records and an hour to play. An hour to play? How the fuck are you going to play 50.000 records and an hour to play? Alright, OK, change my life! I walk in, my life is not changed. I leave, I’m mad. I’m at the door, I’m starting with the promoter because I’m drunk, and they told me the guy had 50.000 songs to play. "I came in with expectations and I had six gin-tonics, dammit! I want my money back. You better not pay him tonight! Don’t pay that DJ nothing! Next time I come here I want to hear the guy with 20 records in his box, and blows my mind."[...]
That’s the other scary thing, it’ll take you the better part of ten years to collect, in my opinion, the amount of vinyl that’s worthy of being presented to other people. Take you, what? A couple minutes? To download somebody’s whole collection. Now the question is, is it worth the convenience? Maybe. But are you missing out on all of the knowledge that goes into looking for those specific records? Specifically, because you know ‘so-and-so’ played on this record, ‘so-and-so’ played on that record, are you going to take that time and get your knuckles dusty, and go meet another crazy obsessed individual just like yourself? You got to take that time. Oh, you can meet somebody online, their name is James and they got a big dick and big eyes. What is that shit? Motherfucker’s name is Jones, she got 36 double D’s, no! You meet somebody at the record store and they’re picking out records. See, that’s the problem with a lot of things now: the community is going from being something where you go out and have conversations with people and deal with individuals. Now everybody can hide behind these phoney masks. Do whatever they want. You never know what you’re getting.[...]
But more importantly, what I want to focus on is that you can’t replace a record collection with a file collection. There’s no way to replace it, and it’s up to every one of you if you’re interested in playing music out, to decide if you’re going to deal with both types of formats. Realise, they’re two different types of camps, you’re really cutting yourself off from individuals who respect the idea of collection. It’s a family and they will be able to tell if you don’t have those records. And they’re not going to look for you for those records. They’re not going to be interested in replacing an important piece that you might have lost or damaged. If they knew that you went the cheap way and just downloaded it anyway, that’s the other part of it.

jdw wrote:

Theo Parrish wrote:I’m pretty sure Herbie didn’t want this digitally downloaded. I’m pretty sure. He probably didn’t even have it in mind to have it spun somewhere, DJed or pitched up and down. But the idea is when you pitch something up and down the record still remains a record. When you take it out of this form you no longer associate this imagery with that individual, these sounds. Now they become abstract concepts. “Who’s Herbie Hancock? Who gives a fuck, I got that song.” See that’s where it goes, and that’s the danger. It’s convenient, ain’t got to carry around records. Ain’t got to worry about customs. You can bring your whole collection to a party. Your whole collection? I mean, I walk into a party and I know you got access to 50.000 records. 50.000! You know what I’m going to expect out of you? I’m going to want my DNA changed! (laughter) You’re going to have to change my DNA because you got 50.000 records and an hour to play. An hour to play? How the fuck are you going to play 50.000 records and an hour to play? Alright, OK, change my life! I walk in, my life is not changed. I leave, I’m mad. I’m at the door, I’m starting with the promoter because I’m drunk, and they told me the guy had 50.000 songs to play. "I came in with expectations and I had six gin-tonics, dammit! I want my money back. You better not pay him tonight! Don’t pay that DJ nothing! Next time I come here I want to hear the guy with 20 records in his box, and blows my mind."[...]
That’s the other scary thing, it’ll take you the better part of ten years to collect, in my opinion, the amount of vinyl that’s worthy of being presented to other people. Take you, what? A couple minutes? To download somebody’s whole collection. Now the question is, is it worth the convenience? Maybe. But are you missing out on all of the knowledge that goes into looking for those specific records? Specifically, because you know ‘so-and-so’ played on this record, ‘so-and-so’ played on that record, are you going to take that time and get your knuckles dusty, and go meet another crazy obsessed individual just like yourself? You got to take that time. Oh, you can meet somebody online, their name is James and they got a big dick and big eyes. What is that shit? Motherfucker’s name is Jones, she got 36 double D’s, no! You meet somebody at the record store and they’re picking out records. See, that’s the problem with a lot of things now: the community is going from being something where you go out and have conversations with people and deal with individuals. Now everybody can hide behind these phoney masks. Do whatever they want. You never know what you’re getting.[...]
But more importantly, what I want to focus on is that you can’t replace a record collection with a file collection. There’s no way to replace it, and it’s up to every one of you if you’re interested in playing music out, to decide if you’re going to deal with both types of formats. Realise, they’re two different types of camps, you’re really cutting yourself off from individuals who respect the idea of collection. It’s a family and they will be able to tell if you don’t have those records. And they’re not going to look for you for those records. They’re not going to be interested in replacing an important piece that you might have lost or damaged. If they knew that you went the cheap way and just downloaded it anyway, that’s the other part of it.

http://www.redbullmusicacademy.com/vide ... _for_the_d