Posted: Sat Dec 13, 2008 1:14 am
Big Producer, Def not 100% dubstep though (whatever that is)
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Posted: Sat Dec 13, 2008 2:04 am
much more important is whether jumpstyle kids think he's jumpstyle!!!
Posted: Sat Dec 13, 2008 2:28 am
the "marketing strategy" is that the big tunes are played for a year on acetate before they're ever available to the public so that if the tune goes off well enough live, djs won't need audio samples to know the tune is a slammer.Surface_Tension wrote:Then don't be too surprised when they don't sell very well. 99% of the time when I am listening to music, it is at home. Doesn't seem like a very good marketing strategy to me. Like I said, a lot of the tunes that people claim you need to listen to on a good system or they are shit, I like on a decent pair of headphones. They are easily amused by feeling bass and don't rate the actual intricacy of the production enough to like it on a pair of headphones.TIME wrote:nah not true. alot of tunes are designed for a big rig.Surface_Tension wrote: If something doesn't sound good to you on a small computer system with a small subwoofer, it's not going to SOUND any better on a bigger system.
Tunes that are a bassline and no snare, with an occasional hihat make me very sad.
but i'd say the vast majority of the best producers (mala, loefah, kode 9) are meant to be heard on a big rig. for home listening, their tunes are somewhat lackluster. only the memory of how amazing they sound on a large system makes the tune any good on shit ipod earbuds.
this is easily the worst argument in dubstep.
Posted: Sat Dec 13, 2008 2:34 am
i think big rig is a bit silly. good headphones do just as much good as a big system. yea bad system/ headphones [ipos ect] make things sound shit cos you miss the bass, you don't need the fucking biggest sytem in the world to dig a tune though, like with any tune if the bass is not up enough it sounds dead, the only differnce with his tunes is that is is based around a sub frequency that poor quality speakers can't represent.
drunk rant over
drunk rant over
Posted: Sat Dec 13, 2008 3:55 am
maybe, but that effectively cuts out a huge swath of people who don't live in the UK, or in a big city where dubstep events happen, doesn't it?South3rn wrote:the "marketing strategy" is that the big tunes are played for a year on acetate before they're ever available to the public so that if the tune goes off well enough live, djs won't need audio samples to know the tune is a slammer.
but i'd say the vast majority of the best producers (mala, loefah, kode 9) are meant to be heard on a big rig. for home listening, their tunes are somewhat lackluster. only the memory of how amazing they sound on a large system makes the tune any good on shit ipod earbuds.
this is easily the worst argument in dubstep.
the best tunes to me are still the ones that sound good on my studio monitors, and are just good tunes. getting to hear them on a big rig is nothing but gravy.
Posted: Sat Dec 13, 2008 4:25 am
http://uk.youtube.com/watch?v=HV9VzsXCFh4sapphic_beats wrote: the best tunes to me are still the ones that sound good on my studio monitors, and are just good tunes. getting to hear them on a big rig is nothing but gravy.
Posted: Sat Dec 13, 2008 4:52 am
shackleton is.
Posted: Sat Dec 13, 2008 1:08 pm
this is fairly redundant. you can't compare the physical properties of a good system working that standing wave of sound pressure which is a very awesome experience [i got into this shit through being a sunn o))) fan] and then the more intimate and focused experience of a pair of good headphones or decent speakers at home. I've been equally blown away by 'blood on my hands' in home listening and at FWD when shacky played it live because it is a fucking rediculous tune! good music is good music full stop. and if your writing it for one very specific enviroment then thats probably limiting yourself quite a bit. and thats fine if thats your goal: in that red bull academy thing mala is talking about not releasing loads of his tunes as he wants it to be exprienced in his own chosen setting [ie. DMZ or FWD and not many other places], not over someones shitty computer speakers as he put it. this is awesome and also limiting obviously but good music is good music and you'll get something different out of it through whatever means you experince it! its all good! one isn't nescasarily 'better' of more fundamental to the quality of experience than the other.
and shacky is working some top notch next level shit that is neither dubstep or techno as he totally transcends either of these feeble descriptions.
Booosh!
and/or kerkow.
and shacky is working some top notch next level shit that is neither dubstep or techno as he totally transcends either of these feeble descriptions.
Booosh!
and/or kerkow.
Re: Is Shackleton
Posted: Sat Dec 13, 2008 1:27 pm
Well a lot of this forum is dedicated to the more fairly straight forward dubstep producers.... (not to sound condescending in anyway, please i don't mean to trash the forum & everyone on it!) Shackleton has always appealed more to the people in to the sort of dubstep that exists on the edges of the scene - not the sort of folks who on the whole inhabit this place.Corpsey wrote:more of a big producer for those who are into techno/other types of music primarily than those who are mainly into dubstep?
Reading Resident Advisor/Fact etc. you constantly see Shackleton hailed as the best dubstep producer, but on people's lists on here of their favourite producers/tunes, his name doesn't really come up that often.
Is this a consequence of him making more techno type stuff nowadays? Do people even see him as a dubstep producer?
[It goes without saying that he's a fucking great producer]
Posted: Sat Dec 13, 2008 1:47 pm
struggle wrote:shackleton is.
Posted: Sat Dec 13, 2008 1:53 pm
bassbeyondreason wrote:Nothing makes me wanna dance more than something I have no fucking clue how to dance to.
QOTD