IDM Mailing Archive

quoted 7 lines artists: would you rather a dj tracklisted their tape? what if

> artists: would you rather a dj tracklisted their tape? what if >the tape sucked? there is always the possibility that a person would >butcher a song a person worked hard to perfect. what if they didn't >touch the song at all, i.e. let a eight minute song nearly run it's >entire course, only to beatmatch it's hi-hat intro...and let it fade on >it's own? now, what happens if that dj credits the song on the >tracklist? who deserves the money paid for the tape?

From the Artist point of view, it's abit unfair for someone to use your tunes, no matter how good or bad the result and then sell the product for you not to see any royalties. At the end of the day the DJ is still creating a product with ingredients, whereas the artist is creating a product from scratch. (Ok give or take a sample or two) A topname DJ could probably make more on one performance, than some of the artists will make on the release of one EP - frightning thought really. Also on the LIVE front I'm strongly against the people using DAT on stage. we (the mobeus) use an EMAXII which provides the sequence lines, you may argue that is just the same as DAT however the Emax provides trigger sync to an SH-101 and two Pro-1's. The internal sequencers are programmed live, to assist this each tune is in the same key, and then all sound settings are "played" in real time. Also as the tunes are in the same key lines are also played from a Poly800mkII and an Alpha Juno, along with making weird noises on either the Pro-1 or Korg MS-10 There's no way we could "play" this sort of intricate trance, but everytime we perform it's different. Recently we played to a club of about 450 people, and there was a girl at the front of the stage doing "the old hands bit". I programmed some mad resonant filter "noises" into the pro-1 and used the mod wheel to pull the sound up and down as she was moving her hands - she went mental, then all her mates had ago. They loved the way they were interacting with the tune. However because the all the drum lines, most of the bass and any too fast runs are sequenced would the "Memorex person" ever consider us a LIVE act ? Orbital take the idea one step further and have all their sequences stored in patterns. The 4/8/16 bar sections can then be brought in or out in a LIVE arrangment fashion, along with track mutes, how does this fare in the same debate ? Are you are paying for a performance, in the same way you see a performance of a pianist etc ? M:) [-A Cyborgs Eye View---------------------http://www.u-net.com/~cev-] | | | home of.... ( t h e m o b e u s ) | [---------------[H]ard [T]rance with [M]elodic [L]ines-------------]

On Mon, 19 Feb 1996, Martin Ayrton wrote:

quoted 5 lines Also on the LIVE front I'm strongly against the people using DAT on

> Also on the LIVE front I'm strongly against the people using DAT on > stage. we (the mobeus) use an EMAXII which provides the sequence lines, > you may argue that is just the same as DAT however the Emax provides > trigger sync to an SH-101 and two Pro-1's. The internal sequencers > are programmed live, [etc, etc, rest of the message deleted]

I have to disagree on this and say (once again) that it really depends on what kind of music is being played. We (Ruumen) use DAT, because it works for us. First of all, our music is quite arranged from top to bottom, with four people playing live instruments (violin, flute, bass and irish buzuki). Even if I would drag all of my stuff (Atari, Akai sampler, etc...) on a gig, it wouldn«t bring more improvisation to our music, because the complexity of our music doesn«t allow it. So, as a result, I use a normal DAT and just mix the band live. I know the music inside out (well, I program it) so I can mix it better than any outside soundman. One thing I do, is using the DAT to supply two mono tracks (opposed to one stereo), so I can have one track of beats and one of bass (we use both live and programmed bass) or two different tracks of beats or whatever, so I have a little freedom at gigs. I also use lots of effects, many of which are older ones with knobs, so I can change them on the fly and, once again, improvise a little. But I do agree that it isn«t really credible if someone uses DAT just to get more time to jump up and down. But I wouldn«t say that the use of DAT makes music better or worse. I wouldn«t care less if Bon Jovi would use DAT for backing tracks (they propable are!). Bullshit is bullshit. Even from DAT! Teemu from: Teemu ---> tkorpipa@siba.fi --------------------------------------------------------------------------- 'I can't forget... but I don't remember what' -Leonard Cohen-