Discussion in 'music, bands, clubs & festies' started by twentythreedom, Mar 11, 2011.
to a soundtrack of
...would be dangerous to a tune like that..
[timestretch] waaaatch diiiiiisssss [/timestretch]
Nice article here with contributions from Dillinja, Lemon D and DJ Hype (@ska invita @ringo @Fozzie Bear)
Dubplate Culture: Analogue Islands in the Digital Stream
thanks for the link steph - well written piece
my thoughts from it though are that aside from the social thing, which was nice for those involved who get to the front of the queue, the key losses of dubs is whats described in that piece as the devaluing of music and the lack of exclusivity. although it sounds convincing in the article im not sure its true, as djs can and do still have digital exclusives which may never get released or only will do in a years time and so on. as to the devaluing of music it may feel like that but on a scene thats still bubbling theres still that excitement about new tunes and their unavailability.
I think whats changed is the way producers approach making a track - knowing its never going to get cut or pressed makes them treat the end product differently and i find a lot of tracks just dont do as much, and wont get played for as long - there are lots of tracks that would feel long if played for 3 mins.
look at a tracklist for a 2hr set of someone like oneman and theres 60 tracks in there wheres in the past you'd have had 30 (or there abouts). Tunes do less and get played for shorter time. This isnt such a bad thing, its just different. A set becomes a mosaic of tracks more than a sequence of killers....hard to describe...its almost like a dj has to create one tune out of two. <thats my impression, especially on the post-dubstep 140bpm side, but theres lots of jump up dnb that isnt worth hanging around for for the second drop.
If you were paying £50 for a dub youd want to get your five minutes worth, not mix it out after two. Supposedly its dead easy to mix with this new technology, so that speeds things up, and you dont have to shuffle around in a record box finding the right track, so that speeds things up too. DJs get itchy standing around so end up putting the tunes on faster and faster, and producers build tunes knowing thats what is going to happen....in my mind thats whats really devalued the music - too many 2 minute tunes.
*Also never knew Dilli and Lemon bought a lathe! Sounds like a nightmare. That (valve sound) rig wasnt cheap and nor is storage and its not exactly getting played out much - money pit all round. Really rate them for trying it though. They really love the whole thing...look at the sniffing the plate grin
Looks good, will have a read later. Just sorting tunes for tonight so here's a few oldies from the vaults
in a rush to dust a soundboy? try turbo kill-a-sound!
Couple of 80's Prince/King Jammy's just landed. Still hunting a Tubbys, preferably in the beautiful sleeves he used for a while.
I've got a mungo's hifi dub plate and thats it.... I can't even remember what its called
First King Tubbys Dubplate finally bagged. Now to find a 70's one with the even better sleeves.
WHoooah. That is quite a thing.....
how much does something like that sell for do you mind me asking? i guess it is more a case of knowing the right people rather than money with something like that though, it is kind of priceless.
Not as much as you might think, £35, it just took years to find. The really good stuff goes for big money, but I'm not really looking for a monster tune on these. It's easier to find heavy dubs on blank or other label dubplates or trade CDRs if you want something exclusive/very rare to play out in decent condition. I bought these to mount in frames and put on the wall in my music room. I love them for their cultural, historic and aesthetic beauty, the tunes on them are not all that great and pretty noisy, which is why they were not that expensive.
I use to go to Music House on Holloway Road to get my dubplates cut. Great memories!
Mmmm, freshly baked
I FINALLY got my first dubplate pressed! this is it being cut:
can we hear the tune please? just realised the video has sound
This is the original version of the tune, I really think it is wicked (obv with slightly dodgy clipped production, but a great song and amazing voice!).
Obv our dubplate version is top secret so i can only give you that youtube clip! (laurice just recorded the personalised intro tbh)
... and actually cutting it to vinyl smooths off the prduction a little! It sounds great on a record player.
Still smelling fresh - over 20 years (￼￼￼fuuuuuck! ) later
were dubplates quite a big thing in the old 90s london squat acid techno scene? I guess it was before digital was used much....
thats something that still really appeals...ive come over to the mp3 darkside this year and its amazing to be able to knock a tune up on the computer and then dj with it seconds later - mp3 dubplate style! - only to hear clear as day how the tune fails to stand up next to professionally released tracks (in terms of the mix). The mastering process of a good cutting house is a thing in itself.
like it...kind of grace jones-ish
Not an especially big thing no ime other than DJs who cut plates of new productions for personal use. Also the turn around from finished studio master of a tune to pressed white labels / promos was very short for little labels so the demand for plates to fill the gap was less.
Also most in that scene were too skint to blow £50 on a plate
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