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Thread: John Digweed - Bunker Session #27 (07-11-20)

  1. #151
    Are you Kidding me?? thebanned1's Avatar
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by ♫♫♫♫♫♫ View Post
    I'm still waiting for your sleeper cells to do something substantial.
    Yea because Bush done it, Bush done it all mate, the Manchester bombing the lot, covert stuff for the oil.

    Jesus fucking Christ Chris I'd expect better from you but the bar is so low.


  2. #152
    Going back to Romford sbando's Avatar
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Last time MS witnessed a flame war Bush was still president.
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  3. #153

    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by thebanned1 View Post
    Yea Chris RIGHT....it had nothing to do with shifting the other 299 records he/she has in stock...I know you're talking shit here and the reason is quite simple. Pressing plants have a minimum order before they'll press the wax, you don't just walk into a pressing plant with your wav and ask for them to press it to vinyl. that's not how it works. Sure you can get a dub plate cut but even that costs a fucking fortune and today there are only two places that do it, no-one does dub plates anymore.
    This is massively wide of the mark. You obviously weren't about early to late 90s I take it?
    I have two friends who both did nothing but try and make music purely for Sasha and digweed. Simon noble and Rowan blades did the same too. However my friends did it purely and I mean purely to make music as a hobby. They still both do and they still only do it as a hobby. They both have day jobs because making niche prog records ain't gonna make you rich.
    So both of them have featured on some big CDs and they went on to work with some real big noises individually but still just kept it as a hobby.
    They even started a label to put their own tracks on which ran at a loss the entire time. They didn't care though because all they wanted to do was make tracks and send them to DJs. You seem to struggle with this concept?
    One of them now has a label that still gets tracks played by the big jocks and it STILL runs at aloss propped up by his full time job.
    I tell you for nothing both of them saw fuck all for featuring on the big CDs and they'd have happily paid for the privilege the same they would hearing that one of their tracks had been dropped on the essential mix.
    I think your views are how you see it and that's fair enough but don't speak for everyone because that's simply not the case.

  4. #154
    Gold Gabber
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Would be real interested in knowing just how Mixcloud pay the artists who's tracks are played by others, such as Digweed. Is it per play basis, one-off for it being in a set?

    Also would be real interested in knowing what % of Mixcloud's subscriber money (both premium & select subscriptions) they actually give to said artists. They clearly aren't investing in providing the user an acceptable web page or phone app, nor are they bothering to give acceptable audio quality.

    Lastly, would love to know just how well Digweed himself does out of this - Let's be honest, he's been the face of Mixcloud for a while now, pushing his Transitions show & now with the Bunker sets, as well as moving away from Facebook.

  5. #155

    Re: John Digweed - Bunker Session #27 (07-11-20)

    Was thinking this yesterday. Lets face it there's isn't going to be some goon trolling through mixes paying labels and artists individually. They wont have a clue how to put such a mechanism in place. Especially when it comes to the older tracks from the 90s. Labels gone, artists gone. It will be some half arsed badly written algorithm type shit that doesn't work. I put my house on it hardly any cunt gets paid either.
    Not as if they will be audited for it but should be. Especially when youre claiming to do so.

  6. #156
    Aussie Pest DIDI's Avatar
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by Knightsfan87 View Post
    Would be real interested in knowing just how Mixcloud pay the artists who's tracks are played by others, such as Digweed. Is it per play basis, one-off for it being in a set?

    Also would be real interested in knowing what % of Mixcloud's subscriber money (both premium & select subscriptions) they actually give to said artists. They clearly aren't investing in providing the user an acceptable web page or phone app, nor are they bothering to give acceptable audio quality.

    Lastly, would love to know just how well Digweed himself does out of this - Let's be honest, he's been the face of Mixcloud for a while now, pushing his Transitions show & now with the Bunker sets, as well as moving away from Facebook.
    It will the same way all the other services are avoiding paying artists.
    Quote Originally Posted by TheVrk View Post
    it IS incredible isn't it??
    STILL pumpin out great set after great set...never cheesed out, never sold out, never lost his touch..
    Simply does not get any better than Hernan
    The 'club spirit' is in the soul. It Never Dies

  7. #157
    Aussie Pest DIDI's Avatar
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by lord lucan View Post
    This is massively wide of the mark. You obviously weren't about early to late 90s I take it?
    I have two friends who both did nothing but try and make music purely for Sasha and digweed. Simon noble and Rowan blades did the same too. However my friends did it purely and I mean purely to make music as a hobby. They still both do and they still only do it as a hobby. They both have day jobs because making niche prog records ain't gonna make you rich.
    So both of them have featured on some big CDs and they went on to work with some real big noises individually but still just kept it as a hobby.
    They even started a label to put their own tracks on which ran at a loss the entire time. They didn't care though because all they wanted to do was make tracks and send them to DJs. You seem to struggle with this concept?
    One of them now has a label that still gets tracks played by the big jocks and it STILL runs at aloss propped up by his full time job.
    I tell you for nothing both of them saw fuck all for featuring on the big CDs and they'd have happily paid for the privilege the same they would hearing that one of their tracks had been dropped on the essential mix.
    I think your views are how you see it and that's fair enough but don't speak for everyone because that's simply not the case.
    "They didn't care though because all they wanted to do was make tracks and send them to DJs." I struggle with that concept. Find me a producer that wouldn't want to recognised by his peers and paid for it as well !! I seem to remember Rowan Blades had an interest in copyright issues as well.
    Quote Originally Posted by TheVrk View Post
    it IS incredible isn't it??
    STILL pumpin out great set after great set...never cheesed out, never sold out, never lost his touch..
    Simply does not get any better than Hernan
    The 'club spirit' is in the soul. It Never Dies

  8. #158
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by lord lucan View Post
    This is massively wide of the mark. You obviously weren't about early to late 90s I take it?
    I have two friends who both did nothing but try and make music purely for Sasha and digweed. Simon noble and Rowan blades did the same too. However my friends did it purely and I mean purely to make music as a hobby. They still both do and they still only do it as a hobby. They both have day jobs because making niche prog records ain't gonna make you rich.
    So both of them have featured on some big CDs and they went on to work with some real big noises individually but still just kept it as a hobby.
    They even started a label to put their own tracks on which ran at a loss the entire time. They didn't care though because all they wanted to do was make tracks and send them to DJs. You seem to struggle with this concept?
    One of them now has a label that still gets tracks played by the big jocks and it STILL runs at aloss propped up by his full time job.
    I tell you for nothing both of them saw fuck all for featuring on the big CDs and they'd have happily paid for the privilege the same they would hearing that one of their tracks had been dropped on the essential mix.
    I think your views are how you see it and that's fair enough but don't speak for everyone because that's simply not the case.
    Without getting into an argument, it's not wide off the mark and I did say you could get a dubplate cut ( i think the place in London was/is called music house ). In the 90s the bar was even higher than it is today because pressing plants had a higher minimum order, this is why the label you're talking about ran at a loss, in the 90's production way out done demand so getting a track played by a big named DJ helped shift units.

  9. #159
    Going back to Romford sbando's Avatar
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    I subscribed to Select, I must be mental.
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    ╚╗╔╝...........(=_=)
    ╔╝(`v).......ღ***ღ.*
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  10. #160

    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by DIDI View Post
    "They didn't care though because all they wanted to do was make tracks and send them to DJs." I struggle with that concept. Find me a producer that wouldn't want to recognised by his peers and paid for it as well !! I seem to remember Rowan Blades had an interest in copyright issues as well.

    What do you mean find me? Ive just given you two examples . Some people arent in it for the money, how hard is that to get a grasp of for fuck sake? They made and still make music just for a buzz irrespective of monetary gain. Is that really so hard for you?
    They have full time jobs and making music is a hobby. That's all. A hobby. Thyve run labels at a loss purely because thats what you do when youre passionate about something. Many businesses' run at a loss . Again, why is that hard to believe for you? Its actually you that cant get youre head around a concept.

  11. #161

    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by thebanned1 View Post
    Without getting into an argument, it's not wide off the mark and I did say you could get a dubplate cut ( i think the place in London was/is called music house ). In the 90s the bar was even higher than it is today because pressing plants had a higher minimum order, this is why the label you're talking about ran at a loss, in the 90's production way out done demand so getting a track played by a big named DJ helped shift units.

    But all youre doing is putting a cost to it again. Its not all about how much it costs getting dub plates cut. They were getting 10-20 cut and sending them to the top jocks and sitting their with a massive hard on knowing their tunes had been rinsed by the top two talismen in a genre. They didnt care that it cost them that's what their day jobs paid for. Profit and loss didnt even come into it and still doesn't. Its a passion. Its no different than spending thousands on a new mountain bike and then it being worth fuck all a year later. You lose your money but its a hobby and a passion. If you cant understand that then this whole conversation is absolutely pointless.

  12. #162
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    Quote Originally Posted by lord lucan View Post
    But all youre doing is putting a cost to it again. Its not all about how much it costs getting dub plates cut. They were getting 10-20 cut and sending them to the top jocks and sitting their with a massive hard on knowing their tunes had been rinsed by the top two talismen in a genre. They didnt care that it cost them that's what their day jobs paid for. Profit and loss didnt even come into it and still doesn't. Its a passion. Its no different than spending thousands on a new mountain bike and then it being worth fuck all a year later. You lose your money but its a hobby and a passion. If you cant understand that then this whole conversation is absolutely pointless.
    Music has to be specifically mastered for vinyl, it need to be mastered to -3 DB, any higher than that and the needle just skips...you said they started a label ? a record label is a business, do we agree on that ? no-one in their right mind starts a business knowing that the business is going to loose money, that's not how business works. I can see your point too, dubplates we relevant in the 90s but I think you might find that a lot of the stuff cut to acetate was also cut to vinyl for the record label, not saying every dubplate was but I think most of it would've been.

  13. #163
    Are you Kidding me?? ♫♫♫♫♫♫'s Avatar
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    WTF are you on about? "a record label is a business" do you really believe that the only reason people make music is for money? If that is the case many will be disappointed. I recall an interview with Ritchie Hawtin where he was asked to come and play in the UK for the first time, he stated that he paid for his own flight and slept on the floor of the plane. If people can make money from the scene great, but the reality is that most don't and do it for love.

  14. #164
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    As usual Chris, acting like a first grade speng but then I've come to expect that from you. It's a shame you don't understand the work that goes into music, it's also a shame that you're stuck in the 90s. Doing it for the love doesn't pay the fucking bills, would you go out into your job and work for free ?

  15. #165
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    Re: John Digweed - Bunker Session #27 (07-11-20)

    yea music isn't business that's why they teach business music courses at most of the prestige colleges

    https://www.pointblankmusicschool.co...4aAnVwEALw_wcB

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