worldwide dubstep community
https://www.dubstepforum.com/forum/
lol don't think anyone here ever said that bronowaysj wrote: It seems like a lot of you feel like you are sitting on the next big thing, and just need a place where you can express that. If so, let's here it. Let's hear the innovation.
Done.MXI wrote:I'm currently writing my dissertation on underground and authentic dubstep, to find out peoples perceptions on when it started to enter popular music or the 'mainstream'.
If anyone could fill out my questionnaire it would be much appreciated!!
All information is strictly confidential and will not be used for anything apart from this survey.
If your interested in the results I can post them back up here when the survey is finished.
Cheers!
http://www.surveygizmo.com/s3/1558101/A ... nd-dubstep
AxeD wrote:
Done.
It was probably an uncle handing down some gear compared with a trip to Natives instruments webpage.What were the circumstances?
sd5 wrote:
but just as the term implies buried and undisinterable,
Tbf, I've only been to one rave, but everyone I came across agreed that queuing was bullshit, security was bullshit, 10 pound entry was bullshit, and police walking in at 9:30am when ambulances had been karting off dickheads who couldn't handle their drugs (before they'd even entered the rave) since 12am.wub wrote:Yes, because most of them don't know any better. The PrePackRave (henceforth known as PPR) is accessible, has music by artists they've heard of thanks to daytime radio exposure, and is well marketed via social media sites.Laszlo wrote:are most youngsters happy with the £20 + bf pre-packaged 'rave' experience?
The PPR falls into the same bracket as Beats By Dre headphones and KRK Rokit monitors - if they are your first foray into the given field, they are marketed well, have visible branding, and catering for the common denominator...but if you start to take a more specialised interest in headphones/monitors/raving, you'll soon realise there are better alternatives on the market.
"this survey isn't accepting further input from shithead like you" apparentlyAxeD wrote:Done.MXI wrote:I'm currently writing my dissertation on underground and authentic dubstep, to find out peoples perceptions on when it started to enter popular music or the 'mainstream'.
If anyone could fill out my questionnaire it would be much appreciated!!
All information is strictly confidential and will not be used for anything apart from this survey.
If your interested in the results I can post them back up here when the survey is finished.
Cheers!
http://www.surveygizmo.com/s3/1558101/A ... nd-dubstep
what course are you doing?MXI wrote:I'm currently writing my dissertation on underground and authentic dubstep, to find out peoples perceptions on when it started to enter popular music or the 'mainstream'.
If anyone could fill out my questionnaire it would be much appreciated!!
All information is strictly confidential and will not be used for anything apart from this survey.
If your interested in the results I can post them back up here when the survey is finished.
Cheers!
http://www.surveygizmo.com/s3/1558101/A ... nd-dubstep
this resonates with me a lot also. I've been going to a lot of smaller nights and teaparties etc recently and I've found that even these kind of supposedly super underground niche parties use social media and the internet (although the party line is still going pretty strong!), and there's little in the sense of true musical innovation anymore, they're just really good nights. I think also that venue owners are much less patient with promoters these days, from my own experience and of others that i know who put nights on. Venue owners almost seem to expect promoters to fill the club on the first ever night, which dont get me wrong is possible but it usually takes a good night a bit of time to get going and build a following.Phigure wrote:bit from a new aphex interview that kind of mirrors how ive felt about this topic, first two paragraphs in particular:
Pitchfork: In the '90s, your music existed in a kind of dialectical relationship with rave culture. Do you miss that?
RDJ: Yeah, I do, actually. For years, I could listen to jungle and nick things from them, but they didn't know I existed. It was a separate world. But that world doesn't exist any more. It's all merged into this global Internet world. It's a real shame. I really don't like that. But that's just globalization. It's got good sides as well. But scenes aren't allowed to develop on their own any more. Everyone knows about everything.
The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever. Or, even better, from lots of different planets. And the closest we got to that was before the Internet, when people didn't know of each other's existence. Now, that doesn't really happen.
I used to love jungle. I still think it's the ultimate genre, because the people making it weren't musicians. The best artists are people who don't consider themselves artists, and the people who do are usually the most pretentious and annoying. [laughs] They've got their priorities wrong. They're just doing it to be artists rather than because they want to do it. And a lot of jungle people were actually car mechanics and painter-and-decorator types, like, pretty hardcore blokes. I wouldn't want to get into a fight with them. I know a few people who were like that, and I don't think that really exists any more. Maybe those sort of non-musician types do some dubstep stuff, or grime. But it didn't exist in jungle for long. There was only a couple of years where people didn't know what they were doing, and you got all these samples that are just totally not related in pitch. I really hunt down those records. They've got this ridiculous mishmash of things that totally don't go with each other at all. Obviously, after they've done it for a couple of years they learn how to make chords and stuff, and it's not so interesting now.