AND/OR the crap gets dug up and sold for DOLLAZ as "SUPER RARE CHICAGO ACID HOUSE TEST PREZZZZ" on Discogs/Ebay/Gemm
On Mon, Apr 7, 2008 at 3:43 PM, kent williams <[EMAIL PROTECTED]> wrote: > Lest we forget, how many absolutely sh1t records were put out in > Chicago and Detroit in the late 80s/early 90s 'golden age' of techno > and house? > > We tend to forget the crap, and eventually it's all ground up and > Archer uses it again. > > > > On Mon, Apr 7, 2008 at 2:24 PM, Michael Pujos <[EMAIL PROTECTED]> wrote: > > Frank Glazer a écrit : > > > > > > > > "My main problem right now is the flood of crappy music generated by > > > the fact the barrier of entry to make music is lower > > > than in the hardware era. Random Joe makes a loop, add random sounds, > > > and voila: instant track that goes knowhere that might find a label > > > since it's so easy to release digitally. Listening sequentially to > > > listings of beatport or juno is a painful experience" > > > > > > i hear this argument a lot and i think it's rubbish. i'm sure > > > industry people were saying the same thing when chicagoans started > > > belting out drum tracks on (then) cheap roland boxes in the early 80s, > > > but that turned out pretty good, i'd say. > > > > > > think of it this way, you could just as easily go back in time and > > > imagine similar things being said, like this: > > > > > > > > > "the fact the barrier of entry to make music is lower than in the > > > symphonic era/big band era/rock n roll quartet era/arena rock era". > > > > > > technology always changes and expands the possibilities for music, > > > both good and bad. if you don't like the bad, don't support it. > > > pretty simple equation. > > > > > > > > The good news with the easy access to making music is that in all those > new > > producers a few outstanding ones will emerge. > > So there's still hope for great music and advancing technolgy heh :) > > > > > -- peace, frank dj mix archive: http://www.deejaycountzero.com
