|Originally posted by Trance-M |
'Messing around' was what they did for sure with Hardcore and Gabber and very likely high or at least still high from the weekend.
But what are examples of popular tracks that were made after 'messing around' in trance or maybe techno?
I just gave you an example of techno. Many early techno records were recorded in this way, some of which have become 'classics.'
Another example of this was In Sync's (classic) Storm, in the artist's own words:
"There are only 4 instruments in the track - all Roland, 2 SH-101s, 1 TR-808 and 1 TR-909. There was no hardware sequencer either. Everything was synched using the drum machine triggers. The notes were recorded on the SH-101 onboard sequencers, so the tune was very limited. Also, one of the SH-101s was not working properly. I could not record the same note twice in the sequencer for some reason. You can't really set up a more basic studio than I used for that track. The track was a production nightmare in reality. I am surprised it ever made it to vinyl. There is tape noise on the recording where the cassette deck level was way too low. But....it does sound like rain. It all went wrong but ended up right it seems".
Then there were classics which were literally made with only 2 machines: a drum machine and a monosynth (with the occasional fx unit) (e.g. Phuture's Acid Trax, some tracks on Universal Indicator Red, 303 Nation - Seis, among others).
In the end, most electronic music is made by 'messing around,' anyway, whether it's in a big studio or not. It's not like an artist generally has a clear picture or idea of what he's going to make - he sits down, gets to work, experiments (messes around) with the machines, finds a sound, atmosphere he likes, etc. and takes it from there. It's not rocket science.
|Is it enough to keep vinyl stores alive eventually or just a handfull? The artist probably don't really benefit from it as it's not enough to have sort of an income. |
Well, new vinyl shop have opened up in New York (as I'm sure they have elsewhere, too) due to the vinyl resurgence, along with new pressing plants. A decade ago, there were only a handful of vinyl shops here, likely struggling to make a business, and often pretty devoid of customers. Along with this resurgence, plenty of new female djs and collectors have come onto the scene, as well, which was hardly the case years ago. When I recently visited A-1 Records in NYC, I've never seen it so crowded before, and there were women digging for vinyls, as well, which I've never seen years ago, when vinyl was all but dead.
No, the artist likely does not make enough of an income from vinyl releases alone, but thanks to the internet and platforms such as Soundcloud, many of these artists are able to gain exposure, and are touring, getting promotions from famous magazines, etc. This was hardly the case just a decade ago. I've spoken to artists like Shawn O'Sullivan, Collin Strange and Low Tape, who were hardly known just a few years ago, and now they're getting gigs left and right and releases from major labels, all thanks to the internet.
You seem to be only focusing on whether or not an artist is making a living from releasing vinyl, completely ignoring all other things that the vinyl resurgence has brought about, including introducing a new generation of youngsters to music styles that were all but dead just a decade ago, when all they knew (and heard) was dubstep and electro-house.
Last edited by AlphaStarred on Feb-04-2018 at 19:55