The Sigh of an Injured Scene

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minimal house
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Post by minimal house »

I agree. It is doing some damage. I am guilty when it comes to software production, but I use classical knowledge of rhythm, melody, etc. I put every ounce of energy into making it sound professional and original. I use my Fender Squier Telecustom guitar a lot in my production now. I'm creating my own new sound with software and hardware. However, like I said in an earlier post somewhere on this forum, it's not what you use, it's how you use it.
Hey its not a bad method of producing music at all. And i think im sounding more arrogant than im intending. I cant even imagine how much dance music we'd be without if software production never came about.
I also feel somewhat strongly about this. I don't use final scratch right now, mainly because of financial reasons, but also because I prefer vinyl. I like to play all the different records I have bought over the years. It gives me the feeling of 'having' something when I'm playing. Forgive me if it sounds a little wild, but it's like I grow to love a record, I bond with it. It can be held, it is my copy of someone elses beautiful work. And they just sound so deliciously warm. Mmm!
I refuse to use final scratch. But if thats what you wanna do to communicate the music..fine by me. Eventually you'll make the value of my vinyl collection increase :lol:
I agree. It's great for promotion, but to some degree, it is definitely aiding in the fall of physical labels. And I too have guilty fingers, heh. I guess it does help me with my growth as an artist though. For instance, my Archipel release was a great turning point in my production style. I was learning a whole lot. At the same time I started to make my LP for Traum. So I got some great knowledge from making that release. Just because I was free to experiment and learn new ways of making sounds work together.
I agree that it is ailing the falen labels..never really looked at it like that. It certainly help the growth of upcoming artists. And in some senses i would say that ive gotten more press from net labels than an actual vinyl release.
minimal house
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Post by minimal house »

Jesse Somfay wrote:
plaster wrote:as much as i live any music that is done with the labour of love i have to admit that the audience in my town is pretty narrowed.
the obvious reaction was when ganik and little_g played this saturday here and some ppl thought ganik is playing goa. :shock:
I know what you mean. It's like that here as well. If I say I play techno or minimal, people will automatically think it's something like ATB. Of course I can't even define what I play. I play a whoooole range of stuff. Whatever I feel is good music basically. I think if more people were to open up and just play whatever they loved, all categorization aside, the scene would be healthier.
Interesting. Not sure about europe or japan..but the common person with no knowledge of what techno and house really is would associate "techno music" with everything electronic.
minimal house
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Re: The Sigh of an Injured Scene

Post by minimal house »

Jesse Somfay wrote:
minimal house wrote: When you talk about 808 State, Underworld etc..keep in mind there was no internet like we have today. Email wasnt fully developed. Record labels didnt have websites. If you wanted to submit music to a label..you send your casette or DAT tape to the label and hope for a return letter in the mail.
Now this is an excellent point. I didn't actually think of that to be honest. But yeah, artists would definitely put more love into their work if they had to send things on casette or DAT because they take more time to record. Very good point indeed.
Yeah..back ago if you wanted to release your music you would first have to:

Buy a record from that label.
Look for a phone number on the record.
Call the phone number. (if it was still operable)
Ask for their mailing address.
Snail mail the casette/DAT.
Wait for a return call/letter.

You can understand how much of a hassle it must have been for both parties involved.
Jesse Somfay
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Re: The Sigh of an Injured Scene

Post by Jesse Somfay »

minimal house wrote:You can understand how much of a hassle it must have been for both parties involved.
Especially for labels like Mute, Factory, Crepuscule, etc...where dance music partially evolved from. A good movie to watch would be 24 Hour Party People. It deals mainly with Factory Records, Joy Division, Manchester and the Hacienda club but it's a good look at where early electronic dance came from and the struggles that the label had with the bands and the problems faced by the Hacienda. It's really good. A nice moody film to watch with some Cameos in it...including Mark E. Smith from the Fall :D But yeah. For Factory records, it was really tough, their bands were always struggling in one way or another, whether it be drugs or finances.
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