What I am as much concerned about is who is controlling the download-sales and who is really making profit from it. At first it looks cool, like you make a track and people can buy it from via download. But the reality is not like that. I am in the process of getting my stuff on iTunes and other platforms and I#m learning that it is not as easy as pressing up vinyls and sell them the old way. You have less control and more middlemen.
Olski what exactly do you mean by the hassles?? im in the process of getting inolved with a few and other than really longass contracts i dont see anything too much of a hassle. I havent attempted to deal with itunes though.
I think Serato is unbelievable, but i consitently have technical problems when i am using it at gigs. Mainly - because i am using the same 2 records all night they get dirty, which causes the needles to get dirty and at some point in the night (no matter how much i clean them) they get so dirty that the sound becomes all distorted and i have to quickly switch over to the other turntable. If I go to "internal mode", the problem is still there because the distortion (which usually sounds like the record is changing pitch) has already occurred.
This happens every time i dj out. Anyone else experience this regularly?
dude, clean your needles every few songs. i keep a little needle brush with me. also, clean the records at home. luckily, i was warned of this issue by qtip who had his night at table50 come to a screaching hault when they couldnt figure out what went wrong.
But really tho, shouldn't you 'big dude' djs be getting serviced from the major labels so you don't have to buy that stuff? I mean when I was in LA doing college radio for a station that had NO SIGNAL I was getting all of that stuff. Hell, some dude came in the shop yesterday with like 10 copies of Ying Yang Wait remix 12's from the label. He bought them off a DJ, and they were clearly promos with the UPC slashed off.
another thing that hasn't been mentioned is records are fcking heavy.
when i lived in TX and had a car... no problem.. but i'm not going to carry 75 lbs. of promo hotnesss bullshit that only has a shelf life of 2 weeks, when i could carry 75 lbs of all my gear with more music than any vinyl dj would ever even bring.
Half the time its so dark that i can't even see if there is dust build up on my needles. Usually, i just try to wipe them with my fingers every so often. What is a needle brush?
About cleaning the records? Have you noticed that some areas are un-cleanable due to cue-burn. I have had mine for about a month and there is cue burn all over the place. I guess that is another problem i have with Serato.
another thing that hasn't been mentioned is records are fcking heavy.
when i lived in TX and had a car... no problem.. but i'm not going to carry 75 lbs. of promo hotnesss bullshit that only has a shelf life of 2 weeks, when i could carry 75 lbs of all my gear with more music than any vinyl dj would ever even bring.
Half the time its so dark that i can't even see if there is dust build up on my needles. Usually, i just try to wipe them with my fingers every so often. What is a needle brush?
About cleaning the records? Have you noticed that some areas are un-cleanable due to cue-burn. I have had mine for about a month and there is cue burn all over the place. I guess that is another problem i have with Serato.
you can adjust your starting point up to a minute in if it gets too burned. ortofon makes a tiny brush that for cleaning needles. keeping a disc cleaner w/ you is a good look for serato or just records period.
"Respect for doing so! But large indie labels are paying non-returnable advances, right?
What kind of shows are you doing? Dj-ing or performing? "
Mostly doing live sets, but occasionally just doing DJ sets. The Bigger indi labels do pay adavances, but that doesn't come close to to divided portions of administrative fees and hired pulicist actions that just kills you on the recoup end.
I think that its something like this:
As soon as the floodgate opens, and this basic industry model becomes a sort "boutique only" different model, I think you will see an honest collector culture pop its head out of the woodwork. Myself personally, I buy a lot of records. Most of them are rare records, or have some kinda of exclusive angle (handmade art, limited runs, ect...). I don't like to spend money on what I consider disposable music (such as one track club singles...) I mean, Im not into the bougiefication of music, but I also think there is something to be said for all those things that add some kind of intrinsic value to the music.
Also, in regards to the "Day wont see any cash" sentiment, in regards to it not really helping.... Seriously man, if people are playing shit someones shit out, and it gets other people asking about the name, or even just amiing it familiar, it does ultimately enable the artist to be touring. I think if you can make a name for yourself with just giving away good free music, you will always be able to book a show for yourself, which is where a lot of people are going to have to start making money once this whole cd/digital/lack of anything tangible thing collapses on itself.
What do I know. I still havent paid off my student loan.
I went into rock n soul a few weeks ago and asked dude if he noticed a big decrease in the sales of the vinyl since Serato is starting to blow up. He said that there has been a major decrease. Of course u can say that Rock N Soul makes most of their money off the flavor of the month 12' like Rihanna, Amerie, and Tony Yayo that Serato users dont have to buy anymore. But even for the rare stuff, people will can just upload each others playlists. I havent decided if that is a bad thing or a good thing yet. Obviously, that 45 i paid $150 for i dont want to just give to someone on mp3 but its a 2 way street. Within 3 months i dont see how dj's are not going to be on serato. While it wont make a wack dj rock a crowd any better, for dope dj's its like they are on steroids. Clubs are already having the box hooked up to the tables so all u gotta do is plug the shit in.
. the day i decided to get it, was when i djed in montreal, and got caught with my pants down. young ass audience who basicall booed mary jane girls... had i had serato,
where did you play in mtl? and what didn't they like again? disco? doesn't sound like mtl to me.
-fryer- 45's are so easy to bring to gigs, what made you go serato? sick of paying for originals?? or do you not want to damage the 45's??
i can understand people who rock 12's and lp's not wanting to bring records to gigs. my friend who plays in europe 1 or 2 times a year (who mainly plays 12s/lp) just recently got popped for about $600. customs identified his records as being dj records, then he got taxed. 45's you wouldn't have that problem for sure. now he went serato. consequently, he is hitting me up on a weekly basis for full song mp3s. he is my guy, but still i feel a little rapered off. it is easier to hand someone an mp3 than a raer.... harder to justify not letting them get it.... even though they will be playing your shit out and getting $$$.
i don't have serato. if i had it would i just being trying to get mp3's of all the tunes i need? i could see never wanting to PAY for a record again. (not saying diggin, paying, not the same at all) would my sets have too much of a selection?? could i control myself??
DELAY has a real good point though. nothing worse than preparing the wrong set for a crowd. you knowing you have the records they want to hear, and you can't bring them. just have to eat shit in style at that point, a very bad feeling. serato could be essential in that respect. but is it too easy??? is it making mf's too lazy?? always having a safety net??? taking the fun out of shit??
What I am as much concerned about is who is controlling the download-sales and who is really making profit from it. At first it looks cool, like you make a track and people can buy it from via download. But the reality is not like that. I am in the process of getting my stuff on iTunes and other platforms and I#m learning that it is not as easy as pressing up vinyls and sell them the old way. You have less control and more middlemen.
Olski what exactly do you mean by the hassles?? im in the process of getting inolved with a few and other than really longass contracts i dont see anything too much of a hassle. I havent attempted to deal with itunes though.
When you are releasing a record you sell it to a distributor or shop for a certain price.
If I as a small label want to get my stuff on iTunes they are not dealing with me directly. I have to make a deal with a company that is selling the music of smaller labels to iTunes. In Germany we have only one company offering this "service" at the moment. They are called Zebralution and they are run by former Rough Trade Germany guys. If I give my music to this company they give it first to a another company that is getting the files ready technically (they get some sort of special code). After that the songs go to iTunes. All these companies invovled are getting paid from the 99cent. And I as the label have to split it with the artist off course.
There's a company in the UK that are just selling MP3s in differtent sound qualities. That looks easy but how can I control what they are really selling? Plus: it's really iTunes that is sellling the majority of downloads.
I#m still in the process of figuring out which route to takle. So far it looks like jungle..
"Respect for doing so! But large indie labels are paying non-returnable advances, right?
What kind of shows are you doing? Dj-ing or performing? "
Mostly doing live sets, but occasionally just doing DJ sets. The Bigger indi labels do pay adavances, but that doesn't come close to to divided portions of administrative fees and hired pulicist actions that just kills you on the recoup end.
I think that its something like this: As soon as the floodgate opens, and this basic industry model becomes a sort "boutique only" different model, I think you will see an honest collector culture pop its head out of the woodwork. Myself personally, I buy a lot of records. Most of them are rare records, or have some kinda of exclusive angle (handmade art, limited runs, ect...). I don't like to spend money on what I consider disposable music (such as one track club singles...) I mean, Im not into the bougiefication of music, but I also think there is something to be said for all those things that add some kind of intrinsic value to the music.
Also, in regards to the "Day wont see any cash" sentiment, in regards to it not really helping.... Seriously man, if people are playing shit someones shit out, and it gets other people asking about the name, or even just amiing it familiar, it does ultimately enable the artist to be touring. I think if you can make a name for yourself with just giving away good free music, you will always be able to book a show for yourself, which is where a lot of people are going to have to start making money once this whole cd/digital/lack of anything tangible thing collapses on itself.
What do I know. I still havent paid off my student loan.
I very much believe in giving musidc awy for free in order to promote it. When you check my site you will see that you can download whole songs as mp3s. When I decide to release a record I first and formost ask myself if I would buy it and I'm a fan and collector and I am never satisfied with havin a song on c-dr or in my iTunes. And I know that I'm not alone.
I still value records as something special and I just don't like the idea of releasing records first and formost to promote the artist to get more gigs. And i know that it is like this often. There are months where i make more money from dsj-ing than from selling records and runninf a label puts you in better position as a dj.
Have you checked out beathut.com over in the UK, they seem pretty legit too me and we are currently thinking of going with them. They currently house Tru Thoughts and a couple of other good labels..
Are you buying the tracks you don't need to have on vinyl at iTunes?
Digital dj-ing is cool and the future but it will also change the market for so called dj-music. The majority of independent labels that are doing Soul Strut-related music (from Jazzman to Stones Throw) are making a good part of their money from selling 45s and 12"s to DJs. Digital-DJs have no reason to buy their records anymore. I haven't met any Serato-DJ who's buying his files legally and I don't think that it will change. Even if they would it wouldn't make a big difference because the money a label and artist makes from a track sold through iTunes is a joke. Due to the technology there are too many middle-men involved.
So where do you see the future for these kinda labels?
Non-physical music is the future and every collector's nightmare. But how will people know about this hot new soundfile? Maybe labels will turn into pure promo and image-building enterprises. I don't know.
I'm not hating. I'm just curious and want to prepare myself for the future that has already started.
Still it's hard for me to imagine how to get really excted about a new piece of music when I not hold the freshly pressed vinyl platter in my hand.
that's my only problem (I could give a shit about "real" or phony). A lot of people will be assed out once vinyl become obsolete. Labels, Stores, Manufacturers, Artists will all be affected. Shit doesn't look good at all for them.
. the day i decided to get it, was when i djed in montreal, and got caught with my pants down. young ass audience who basicall booed mary jane girls... had i had serato,
where did you play in mtl? and what didn't they like again? disco? doesn't sound like mtl to me.
"The Blue Dog"... some hip hop night there i got last minute after "bizzards" canceled on me. it's definitely a younger crowd there and i was not ready.
i was divided becuase FS is on the 2nd version, so they had time to make imporvments....and they use FW over USB....but overall RANE makes more quality products i'd belive they make a better box than Stanton.
Hopefully i'll be able to afford a powerbook in early 2006, then comes the Serato (then the mbox...then the world)
I live in a city that is run by bands. The bars i play at are set up for rock shows, not DJays, so I allways have to carry equipment to my shows. That includes everything down to the folding table & caution tape. I bring way more records than i need so i can be prepared for anything. if i had Serato i'm sure i'd bring 1 or 2 less crates. i'd probably bring enough records to last all night, just to be safe.
I just have 2 questions.
1) In the next few months will RANE make a new version of Serato, or are they sticking with that box for a while?
2) Question for the people who download new singles: do you download the instrumental/accapella versions too? Is it easy to find/download those versions. cause with many new songs i find those versions more usefull. for example i've probably used the accapella of "hollaback girl" or the instruemtal for "wait" way more the the normal versions.
1) In the next few months will RANE make a new version of Serato, or are they sticking with that box for a while?
I think they said that they're working on a new hardware unit that would allow for more inputs and a mixer with it integrated (maybe that's both of them?), but they promised that any future software updates will be compatible with all of them.
2) Question for the people who download new singles: do you download the instrumental/accapella versions too? Is it easy to find/download those versions. cause with many new songs i find those versions more usefull. for example i've probably used the accapella of "hollaback girl" or the instruemtal for "wait" way more the the normal versions.
buy the 12" and record the instrumentals and acapellas
1) In the next few months will RANE make a new version of Serato, or are they sticking with that box for a while?
I think they said that they're working on a new hardware unit that would allow for more inputs and a mixer with it integrated (maybe that's both of them?), but they promised that any future software updates will be compatible with all of them.
that makes me wish i didn't have a Rane 54 allready....if they made a 56 or Empath style mixer with a Firewire out so you could still pick your tracks on a laptop screen that would be some shit. i hope they don't try to build in a hard drive & LCD screen, id rather control it with a computer
* I thought damn, Day???s up on some of that NZ niceness (ie. Fat Freddys Drop, Mark De Clive Lowe), then I clicked properties and saw it was a stock photo .. *
I have one more serato question tho. How does it perform with files from an external harddisk? So if you hook up your laptop with a external drive via USB. DOes everything still work fast and all?
Sorry to come into this late but while I'm a huge fan of Serato, I agree with people's concerns that digital DJing is going to have an effect on the vinyl market. How could it not?
For older cats like myself, we're still attached to vinyl as a physical object but there's not really anything inherently superior about it once you get down to a practical level. I mean, I think Juelz' "Mic Check" is a cool club joint but if I only had that on high quality soundfile but not wax, would I really feel bad about it? Probably not.
I think labels will start to print up less vinyl promos and just send out CDs more. It'd certainly be a lot less expensive for them to do so. And it defintely puts people like Olski in a difficult situation if he puts out a sick ass 12" that younger cats would be just as happy playing out off a digital burn than off the real thing.
I'm not prejudging this as good or bad but each step that technology takes forward is bound to render certain industries obsolete. Records put a lot of working musicians out of business - should we regret that too? In hindsight, everyone just shrugs but the digital music revolution is going to be a huge paradigm shift and it's going to make some rich while others starve. I don't know how the industry, overall, can change to deal with this but it's unavoidable now.
-fryer- 45's are so easy to bring to gigs, what made you go serato? sick of paying for originals?? or do you not want to damage the 45's??
i still take 45s all the time as i love them. I play records dont want to bring out the house every week and the odd record i dont own mostly for my own satifaction to hear i record i want nice and loud. There is no point kicking the ass out of a nice mint "Strike" or whatever when you could record it from vinyl and play it serato and keep it minty in the house, these records are rare and i dont want to go fucking stuff up ill have problems getting back, if you play rare 45s every week (usualy more) they do get hissy and fucked and thats with my own needles set light. Now for motherfunk i can use serato and when i go away doing gigs or special occasions i pull out trusty vinyl which is nice and clean, i think its a more responsable way to look after your records and again if someone wants to take the piss ill do the pepsi chalenge with real records and tuck them up in bed.
I really don't see Serato affecting the vinyl market as much as folks are thinking. After all, all that's really going to be affected is the major label 12" market and record stores that specialized in selling major label 12"s. But, let's be real here: major labels do not press-up 12"s to make money. Those things are basically just for promotional use and the labels probably come close to breaking even with their vinyl sales. It's just away to appease the vinyl-buying DJs and to promote the records (i.e. these DJs play the records out).
Yeah, it goes without saying that vinyl is still obviously much more expensive to manufacture than any form of digital media, and major labels would probably be very happy to not have to press that shit as much, but I don't see how this will necessary "kill off vinyl." Fine, there will be a whole lot less Chris Brown "Run It" 12"s floating around dollar bins 6 months after the song is obselete, but I don't think that that's the kind of shit that is nurturing the health of "vinyl culture" anyway.
Everybody I know that rocks Serato still brings about a half a crate of records to their gigs as some "just in case" shit as well as a "this shit is only out on vinyl" shit. And, the fact that Serato allows you to very easily switch between playing shit off of regular ol' vinyl and playing shit off your laptop basically ensures that folks won't abandon vinyl completely.
I dunno. I think Serato will certainly have an affect on the mainstream vinyl market, but it's only gonna phase out the Chris Brown 12"s and the Tony Yayo 12"s (and, as far as I'm concerned, go ahead and phase that shit out!). By phasing out all this somewhat "unnecessary" vinyl bulk, I think Serato is really going to strengthen the "collector" attitude towards vinyl (where vinyl becomes a more specialized and competetive market) and--because of the insane amount of creative options it opens--will foster an unprecedented innovation in DJing in general...and that's something I find to be very valuable and even rather important, even if it means shit like "Gimme That" won't be available on record anymore.
It's still (somewhat) early over here and I need some coffee so I'll make this brief...
Once I bought Serato I thought I wasn't gonna need to buy records as much as before, but like everyone has said, it's been just the opposite.
The digital shift in and of itself is causing record labels to lose money. I'm sure Serato factors into that to some degree, but I would blame IPods for low sales a hell of a lot more than the former.
As far as smaller labels being hurt by all this, most of those songs just aren't readily available to download. If anything those are the records I will ALWAYS continue to buy because they're almost impossible to get anywhere else.
Another thing, although it could use some improvements, they really come correct when it comes to the software updates.
This is only one of the new features in the next downloadable version:
Sam
Serato, Moderator
July 11, 2005, 7:50 PMquote
Scratch LIVE version 1.5 will include a new sample from vinyl feature. This will be an extension of the mic record feature that will allow you [to] record directly from either turntable, and save to disk as a 16-bit AIFF file.
This means you will not need a separate sound card for archiving your vinyl,[/b] the SL1 unit will be ideally suited to the purpose.
In the initial release, the basic functionality of this feature will not include editing capabilities such as trimming the file, but it is possible we will consider this in the future.
my friend who plays in europe 1 or 2 times a year (who mainly plays 12s/lp) just recently got popped for about $600. customs identified his records as being dj records, then he got taxed.
I can't find a reference, but that "oil runs out = end of vinyl" was, I believe, an internet urban legend.
Dude, if you think extraneous luxury items like vinyl records are still going to be produced "after the oil runs out" you are going to be in for a very rude awakening, seeing as how oil is the linchpin for the entire global economy. It may or may not be possible to produce vinyl records without using petroleum products (I would suspect not) but it's really a moot point.
Comments
Olski what exactly do you mean by the hassles?? im in the process of getting inolved with a few and other than really longass contracts i dont see anything too much of a hassle. I havent attempted to deal with itunes though.
I think Serato is unbelievable, but i consitently have technical problems when i am using it at gigs. Mainly - because i am using the same 2 records all night they get dirty, which causes the needles to get dirty and at some point in the night (no matter how much i clean them) they get so dirty that the sound becomes all distorted and i have to quickly switch over to the other turntable. If I go to "internal mode", the problem is still there because the distortion (which usually sounds like the record is changing pitch) has already occurred.
This happens every time i dj out. Anyone else experience this regularly?
another thing that hasn't been mentioned is records are fcking heavy.
when i lived in TX and had a car... no problem.. but i'm not going to carry 75 lbs. of promo hotnesss bullshit that only has a shelf life of 2 weeks, when i could carry 75 lbs of all my gear with more music than any vinyl dj would ever even bring.
About cleaning the records? Have you noticed that some areas are un-cleanable due to cue-burn. I have had mine for about a month and there is cue burn all over the place. I guess that is another problem i have with Serato.
you can adjust your starting point up to a minute in if it gets too burned. ortofon makes a tiny brush that for cleaning needles. keeping a disc cleaner w/ you is a good look for serato or just records period.
What kind of shows are you doing? Dj-ing or performing? "
Mostly doing live sets, but occasionally just doing DJ sets. The Bigger indi labels do pay adavances, but that doesn't come close to to divided portions of administrative fees and hired pulicist actions that just kills you on the recoup end.
I think that its something like this:
As soon as the floodgate opens, and this basic industry model becomes a sort "boutique only" different model, I think you will see an honest collector culture pop its head out of the woodwork. Myself personally, I buy a lot of records. Most of them are rare records, or have some kinda of exclusive angle (handmade art, limited runs, ect...). I don't like to spend money on what I consider disposable music (such as one track club singles...) I mean, Im not into the bougiefication of music, but I also think there is something to be said for all those things that add some kind of intrinsic value to the music.
Also, in regards to the "Day wont see any cash" sentiment, in regards to it not really helping.... Seriously man, if people are playing shit someones shit out, and it gets other people asking about the name, or even just amiing it familiar, it does ultimately enable the artist to be touring. I think if you can make a name for yourself with just giving away good free music, you will always be able to book a show for yourself, which is where a lot of people are going to have to start making money once this whole cd/digital/lack of anything tangible thing collapses on itself.
What do I know. I still havent paid off my student loan.
Within 3 months i dont see how dj's are not going to be on serato. While it wont make a wack dj rock a crowd any better, for dope dj's its like they are on steroids. Clubs are already having the box hooked up to the tables so all u gotta do is plug the shit in.
where did you play in mtl? and what didn't they like again? disco? doesn't sound like mtl to me.
-fryer-
45's are so easy to bring to gigs, what made you go serato? sick of paying for originals?? or do you not want to damage the 45's??
i can understand people who rock 12's and lp's not wanting to bring records to gigs. my friend who plays in europe 1 or 2 times a year (who mainly plays 12s/lp) just recently got popped for about $600. customs identified his records as being dj records, then he got taxed. 45's you wouldn't have that problem for sure. now he went serato. consequently, he is hitting me up on a weekly basis for full song mp3s.
i don't have serato. if i had it would i just being trying to get mp3's of all the tunes i need? i could see never wanting to PAY for a record again. (not saying diggin, paying, not the same at all) would my sets have too much of a selection?? could i control myself??
DELAY has a real good point though. nothing worse than preparing the wrong set for a crowd. you knowing you have the records they want to hear, and you can't bring them. just have to eat shit in style at that point, a very bad feeling. serato could be essential in that respect. but is it too easy??? is it making mf's too lazy?? always having a safety net??? taking the fun out of shit??
When you are releasing a record you sell it to a distributor or shop for a certain price.
If I as a small label want to get my stuff on iTunes they are not dealing with me directly. I have to make a deal with a company that is selling the music of smaller labels to iTunes. In Germany we have only one company offering this "service" at the moment. They are called Zebralution and they are run by former Rough Trade Germany guys. If I give my music to this company they give it first to a another company that is getting the files ready technically (they get some sort of special code). After that the songs go to iTunes.
All these companies invovled are getting paid from the 99cent. And I as the label have to split it with the artist off course.
There's a company in the UK that are just selling MP3s in differtent sound qualities. That looks easy but how can I control what they are really selling? Plus: it's really iTunes that is sellling the majority of downloads.
I#m still in the process of figuring out which route to takle. So far it looks like jungle..
I very much believe in giving musidc awy for free in order to promote it. When you check my site you will see that you can download whole songs as mp3s. When I decide to release a record I first and formost ask myself if I would buy it and I'm a fan and collector and I am never satisfied with havin a song on c-dr or in my iTunes. And I know that I'm not alone.
I still value records as something special and I just don't like the idea of releasing records first and formost to promote the artist to get more gigs. And i know that it is like this often. There are months where i make more money from dsj-ing than from selling records and runninf a label puts you in better position as a dj.
Have you checked out beathut.com over in the UK, they seem pretty legit too me and we are currently thinking of going with them. They currently house Tru Thoughts and a couple of other good labels..
Peace
Rusty
Funk Weapons International
that's my only problem (I could give a shit about "real" or phony). A lot of people will be assed out once vinyl become obsolete. Labels, Stores, Manufacturers, Artists will all be affected. Shit doesn't look good at all for them.
but it can't be stopped.
i was divided becuase FS is on the 2nd version, so they had time to make imporvments....and they use FW over USB....but overall RANE makes more quality products i'd belive they make a better box than Stanton.
Hopefully i'll be able to afford a powerbook in early 2006, then comes the Serato (then the mbox...then the world)
I live in a city that is run by bands. The bars i play at are set up for rock shows, not DJays, so I allways have to carry equipment to my shows. That includes everything down to the folding table & caution tape. I bring way more records than i need so i can be prepared for anything. if i had Serato i'm sure i'd bring 1 or 2 less crates. i'd probably bring enough records to last all night, just to be safe.
I just have 2 questions.
1) In the next few months will RANE make a new version of Serato, or are they sticking with that box for a while?
2) Question for the people who download new singles: do you download the instrumental/accapella versions too? Is it easy to find/download those versions. cause with many new songs i find those versions more usefull. for example i've probably used the accapella of "hollaback girl" or the instruemtal for "wait" way more the the normal versions.
buy the 12" and record the instrumentals and acapellas
that makes me wish i didn't have a Rane 54 allready....if they made a 56 or Empath style mixer with a Firewire out so you could still pick your tracks on a laptop screen that would be some
what took y'all so long?
i read. st. laurent can be a tough racket!!
* I thought damn, Day???s up on some of that NZ niceness (ie. Fat Freddys Drop, Mark De Clive Lowe), then I clicked properties and saw it was a stock photo .. *
How does it perform with files from an external harddisk?
So if you hook up your laptop with a external drive via USB.
DOes everything still work fast and all?
For older cats like myself, we're still attached to vinyl as a physical object but there's not really anything inherently superior about it once you get down to a practical level. I mean, I think Juelz' "Mic Check" is a cool club joint but if I only had that on high quality soundfile but not wax, would I really feel bad about it? Probably not.
I think labels will start to print up less vinyl promos and just send out CDs more. It'd certainly be a lot less expensive for them to do so. And it defintely puts people like Olski in a difficult situation if he puts out a sick ass 12" that younger cats would be just as happy playing out off a digital burn than off the real thing.
I'm not prejudging this as good or bad but each step that technology takes forward is bound to render certain industries obsolete. Records put a lot of working musicians out of business - should we regret that too? In hindsight, everyone just shrugs but the digital music revolution is going to be a huge paradigm shift and it's going to make some rich while others starve. I don't know how the industry, overall, can change to deal with this but it's unavoidable now.
i still take 45s all the time as i love them. I play records dont want to bring out the house every week and the odd record i dont own mostly for my own satifaction to hear i record i want nice and loud. There is no point kicking the ass out of a nice mint "Strike" or whatever when you could record it from vinyl and play it serato and keep it minty in the house, these records are rare and i dont want to go fucking stuff up ill have problems getting back, if you play rare 45s every week (usualy more) they do get hissy and fucked and thats with my own needles set light. Now for motherfunk i can use serato and when i go away doing gigs or special occasions i pull out trusty vinyl which is nice and clean, i think its a more responsable way to look after your records and again if someone wants to take the piss ill do the pepsi chalenge with real records and tuck them up in bed.
Yeah, it goes without saying that vinyl is still obviously much more expensive to manufacture than any form of digital media, and major labels would probably be very happy to not have to press that shit as much, but I don't see how this will necessary "kill off vinyl." Fine, there will be a whole lot less Chris Brown "Run It" 12"s floating around dollar bins 6 months after the song is obselete, but I don't think that that's the kind of shit that is nurturing the health of "vinyl culture" anyway.
Everybody I know that rocks Serato still brings about a half a crate of records to their gigs as some "just in case" shit as well as a "this shit is only out on vinyl" shit. And, the fact that Serato allows you to very easily switch between playing shit off of regular ol' vinyl and playing shit off your laptop basically ensures that folks won't abandon vinyl completely.
I dunno. I think Serato will certainly have an affect on the mainstream vinyl market, but it's only gonna phase out the Chris Brown 12"s and the Tony Yayo 12"s (and, as far as I'm concerned, go ahead and phase that shit out!). By phasing out all this somewhat "unnecessary" vinyl bulk, I think Serato is really going to strengthen the "collector" attitude towards vinyl (where vinyl becomes a more specialized and competetive market) and--because of the insane amount of creative options it opens--will foster an unprecedented innovation in DJing in general...and that's something I find to be very valuable and even rather important, even if it means shit like "Gimme That" won't be available on record anymore.
-e
Once I bought Serato I thought I wasn't gonna need to buy records as much as before, but like everyone has said, it's been just the opposite.
The digital shift in and of itself is causing record labels to lose money. I'm sure Serato factors into that to some degree, but I would blame IPods for low sales a hell of a lot more than the former.
As far as smaller labels being hurt by all this, most of those songs just aren't readily available to download. If anything those are the records I will ALWAYS continue to buy because they're almost impossible to get anywhere else.
Ok, time to wakey wakey
This is only one of the new features in the next downloadable version:
Sam
Serato, Moderator
July 11, 2005, 7:50 PMquote
Scratch LIVE version 1.5 will include a new sample from vinyl feature. This will be an extension of the mic record feature that will allow you [to] record directly from either turntable, and save to disk as a 16-bit AIFF file.
This means you will not need a separate sound card for archiving your vinyl,[/b] the SL1 unit will be ideally suited to the purpose.
In the initial release, the basic functionality of this feature will not include editing capabilities such as trimming the file, but it is possible we will consider this in the future.
http://scratchlive.net/forum/discussion/?discussion_id=5052#new
huh? What's this about?
Dude, if you think extraneous luxury items like vinyl records are still going to be produced "after the oil runs out" you are going to be in for a very rude awakening, seeing as how oil is the linchpin for the entire global economy. It may or may not be possible to produce vinyl records without using petroleum products (I would suspect not) but it's really a moot point.