Future of DNB

[Mania]

No its not, I am currently listening to stamp out right know. It sounds like a dumb downed version of a John Mist song with a really annoying top bass. For fuck's sake I can't stand it. I have been hearing a lot of tracks like this lately and it pisses me off.

Go to a night with this played in a set, then come back to me

I'm not an expert on music industry, but I read a lot about how things happen, and you're partially right on your statement. To be exact, on the first part. Marketing, experience and even a little perseverance can make a difference. But not always the tune have the power to open doors for you, alone. And this is an unfortunate truth: you need to actually KNOW someone, who KNOWS someone, who KNOWS an A&R on a big label, and wait and hope for this last guy to even listen to you tune. Why do you think there are lots of indie labels popping out every single day? Because people can't put their songs on major labels. And I bet MY house that one of us "amateurs who want to croos the line and become pros" have a tune that is more massive than Stamp Out. That would deserve recognition as Noisia deserves. But this guy is hitting on a tall wall, because he doesn't know someone, who knows someone, etc, etc.

I think you underestimate how many artists get signed through demos, a lot of up & comers do exactly that.

Fucking Bensley got signed to fucking ram with no fanbase or dj experience, just from a demo. think about that.

 

[Howitzer]

Why don't we take a look at that "Noisia - Stamp Out" thread on the Drum & Bass part of this forum, then? The discussion there went further to someone saying that if that song were released by one of us amateurs, we would be completely crushed by the listeners. That's exactly what you're talking about right now: we (the amateurs) can have the best über-banger realeased by ourselves on our soundcloud, yet people will think it's crap just because we aren't Noisia, or Phace, or BSE or any other big name out there.

Not really what I'm saying to be fair. I'm talking about the sheer volume of new music. It is pretty much impossible to listen to every track released every day on Juno if you have a life or a job, or any kind of responsibility. My issue is that because its become easier to release music under whatever label, quality control is down. Therefore, as someone who cannot spend all day listening to new music, I only really listen to the stuff I recognise from labels I trust, thus, missing a good crop of decent up-and-coming producers and I know I'm not the only one who does this!

People like all sorts of music, I've already come to terms with the fact not everyone likes everything, that doesn't bother me. You know the old saying; opinions are like arseholes, everyone's got one.

 

[RUSSLA]

No its not, I am currently listening to stamp out right know. It sounds like a dumb downed version of a John Mist song with a really annoying top bass. For fuck's sake I can't stand it. I have been hearing a lot of tracks like this lately and it pisses me off.

Mate come on, it's a matter of opinion and we all know that.

 

[Dark Lizardro]

Go to a night with this played in a set, then come back to me
I think you underestimate how many artists get signed through demos, a lot of up & comers do exactly that.

Fucking Bensley got signed to fucking ram with no fanbase or dj experience, just from a demo. think about that.

I'm not saying people don't get signed out of the blue, man. I'm saying that thinking about how many "producers" we have in the market now, very little of them get signed to a relevant label.

 

[Mania]

I'm not saying people don't get signed out of the blue, man. I'm saying that thinking about how many "producers" we have in the market now, very little of them get signed to a relevant label.

ive heard a lot of them, and i would say that theyre not up to standard. Theres a reason people get signed, because theyre better than the rest. If anything, nowadays its even easier to get signed with so many indie labels coming out with a lower standard

 

[Boooke]

It's kind of like a working method, or medicine. You keep using it until it has no effect any longer. Some full-time producers and artists are basically businessmen, even if they don't really think about it like that. If a sound attracts people, it attracts commercial success. Also, not everyone care as much about music as people here. For half a year, I've sat with the same friend three days every week driving 30x2 minutes to an university. Because his radio fucked up (He apparently MUST have the radio turned on all the time when in the car, because silence and functioning ears is dumb), he puts on a CD with the same ten soft-pop songs like "I'm a big girl in a big world". Luckily you can pull out the front of the radio/CD-player and luckily that turns off everything. But the point is, he doesn't care what he listens to, he just wants to hear something, especially if it's popular, because obviously that means it's good ...

The allmighty Skrillz, who invented dubstep, and whatevs teenage girls spew out of their arse, kind of brought forth the brostep sound. He really did have an interesting sound in the beginning, and he is to day still using that sound. Some would probably say out of habit or lack of creativity, but I'm pretty sure it's (also?) because that's the sound people want.
Another example, Avicii. All of his songs are basically the same. Some vocals from a "featured 'artist'", basic lyrics like "carpe diem, be yourself, IKEA, make love not war"... shit like that which people apparently think is meaningful. He just added some happy synth, four to the flour, and people bend over for him. Basically, the money is in vocals over four to floor-beats. Like, Nicki Minaj - Starship, Jason Derulo (cba to find the name), Ke$ha - Timber, and all the other shit we dance to when drunk... It is because it works.

Other copy/pasters are Nari & Milani, Swedish House Mafia, David Guetta, Benny Benassi (Lol, he has only made one song), and the list goes on. It sums up almost every artist on almost every club, every friday and saturday night.

There is no reason to worry about DnB. I mean no offence, but you worry that DnB won't stay the same, but also dislike that producers stick to a certain sound. To me that is kind of the same. I hate the sell-out stuff, too, but that's the cycle, it happened in the 90s and 00s, too. Crossbreed (Genre) spawned not long ago from DnB (I just call it DnB, but genrefags would probably get an itchy anus about it), and I think it's amazing, if you want something less commercial, still a tad DnBish.

tl;dr: https://www.youtube.com/watch?v=Da4V5vKcGl8

Some parts of this rant might not make sense, haven't slept all night, and just got home from a examination. Sorry 'bout that. Also, minimal is awesome.

 

[RUSSLA]

tl;dr: https://www.youtube.com/watch?v=Da4V5vKcGl8

.

That video is great!

 

[Quotec]

Who the fuck is Bensley? He is signed to RAM? Well, ABBA knows the deal.

https://www.youtube.com/watch?v=ETxmCCsMoD0


But I must agree with Howitzer, we are pretty much limited to what we hear from trusted labels - they shape our musical taste. That's where the dog lies buried. (New) Producers who strive to make some money from the thing or get recognized by wider public(I think I am one of them) rely on what they hear from relevant popular labels and try to suit the taste. Some are heavily influenced, some are not. I will change my ways and dig out more tracks from less known labels/producers in future, I promise.

 

[Fluff]

That's exactly what you're talking about right now: we (the amateurs) can have the best über-banger realeased by ourselves on our soundcloud, yet people will think it's crap just because we aren't Noisia, or Phace, or BSE or any other big name out there.

It is unfortunately true that having an established name wins half the battle of getting people to listen to tunes irrespective of their quality. I'm as guilty as anybody of checking out tracks on soundcloud because they are by an artist I follow while ignoring potentially better tracks by other artists that are not big names.

 

[ROBDOE]

What really annoys me about the idea that something has 'had its day' is that when someone like me has come along and got in to dnb from pendulums hold your colour in 2005 at the tender age of 11 and you have that first 'holy fuck, what kind of music is this' moment and then go on to learn about the whole world of different types of dnb and love a genre of music and tell your friends about it, then you go out and see the dj's play out at clubs and squat raves (the best place for the dnb scene at the moment I think) and its this whole thing you're into with your mates (peace, love and unity, right?) and then you get someone ten years older than you who was lucky enough to have been around in the 90's (yeah, we know, and yes we are jealous) come along and tell you that dnb died with scratching and its not even worth going to the coronet anymore, I quote "Full of ket-heads"- get over the fact that it's not what it used to be, and love it for what it is now. Yeah there's a shit ton of sold out shit out there (RIP sub focus) but there is still a thriving and evolving scene at 175 bpm so chuck an E, think of dreamscape and enjoy the amen

 

[Mania]

I dont know who came up with this "95% production techniques and 5% musicality" thing but its straight out bullshit, and we should all know this

 

[Dark Lizardro]

I dont know who came up with this "95% production techniques and 5% musicality" thing but its straight out bullshit, and we should all know this

Agreed.

 

[groelle]

I dont know who came up with this "95% production techniques and 5% musicality" thing but its straight out bullshit, and we should all know this

that was me, and it was a hyperbole.

i wasnt saying its like that all over the board - but it does seem like dnb is going that route. and it was more meant from the production side of thing. i mean, its drum and bass - you wont be composing like you would for an orchestra, nor will you be jamming with your bandmates till something good comes out. you put down a chord progression, a melody, some riff and youre done with the "musical" side of drum and bass. rest of your production time goes into actually producing. and that tends to be the most time-consuming part of it. just because drum and bass isnt all that musically but production wise hard to do.

its more of a generalized statement than to be taken 100% serious.

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Ive thought about a lot previously, its something ive always wondered. But i still heartily disagree.
The reason Stamp Out is getting so many commendations is because its a massive tune, thats it. If i made that tune and sent it to a few labels, i would bet my house that i would signed. I would sound like im imitating noisia, but nonetheless i would get signed.
Obviously marketing and being in the scene for 10 years helps, but imo success is all in the tune

QFT btw, hadnt read the thread.

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And this is an unfortunate truth: you need to actually KNOW someone, who KNOWS someone, who KNOWS an A&R on a big label, and wait and hope for this last guy to even listen to you tune.

wrong imo. people with labels listen to almost EVERYTHING they get send. because you know, theyre self made entrepreneurs and dont want to sleep on the next best chance. imagine andy c wouldnt have listened to that sub focus demo cd and he was on hospital instead. dont you think andy would be mad? and listen to every demo cd he gets following up? i bet my ass he would.

Why do you think there are lots of indie labels popping out every single day? Because people can't put their songs on major labels.

mostly cause they arent ready to release on the big dogs. some want to do their own stuff but theyre the wast minority. most of the times its just a frustrated producer that thinks he can sell some tunes and just does his own label. those that arent this way are the ones that actually seek quality music and are opening up a different niche (think critical, diffrent etc)

And I bet MY house that one of us "amateurs who want to croos the line and become pros" have a tune that is more massive than Stamp Out. That would deserve recognition as Noisia deserves. But this guy is hitting on a tall wall, because he doesn't know someone, who knows someone, etc, etc.

ill bet that there isnt. people that can produce up to THAT standard, know what theyre doing and HAVE definately peers they can send tunes to, and are aware of their skillset and WILL be able to sell that.

no bedroom producer has a tune like stamp out and cant sell it, guaranteed. if he does send it out to a few peeps that is of course. but ALL labels have dropboxes, emails etc.

tbh, and ive been on that semipro status for quite some time now. its all about you. those things you say are just your protection from the "mean world that doesnt give you a chance" when you know deep within that youre not ready. that your tunes just dont cut it. that you have to work on them.

everyone thats capable of doing tunes as catchy, technically perfect and flat out big as stamp out WILL get signed and WILL sell tunes.

obv if you got the right connections itll be easier. but to take that level of knowledge and then postulating you wouldnt be able to sell it if you got it is just pure bullshit.

 

[Dark Lizardro]

wrong imo. people with labels listen to almost EVERYTHING they get send. because you know, theyre self made entrepreneurs and dont want to sleep on the next best chance. imagine andy c wouldnt have listened to that sub focus demo cd and he was on hospital instead. dont you think andy would be mad? and listen to every demo cd he gets following up? i bet my ass he would.

Then we don't need to worry, then? Ok, let's make a comparison here: do you think Google's HR reads each one of the CVs they receive? No, they don't. In this case, it's proven that most HR recruiters spend 5-7 seconds looking at a CV. And you need to stand out, to catch their attention.

Of course, I'm not saying people don't get signed, but that is almost impossible for them to get signed. And there is where the whole "You know someone, who knows someone" thing appears.

 

[RUSSLA]

^ Mate you're basing your whole arguement on assumptions; if you havent worked for a record label or Googles HR of course.

Plus what are you knobends even arguing about really?

 

[Quotec]

Would like to hear from a guy who actually has experience in selling tracks to labels.

 

[Menosance]

Would like to hear from a guy who actually has experience in selling tracks to labels.

Selling or signing?

 

[Quotec]

Yeah signing, sorry.

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Btw did you hear a new tune from Netsky? A perfect example of shitty production still being released on big labels. Because Netsky.

 

[bn14]

A while back kasra offered to do a Q&A might be worth seeing if he's still willing to do it. Also, Presha and Anttc1 post on here regularly too so maybe able to chuck a few questions their way.

 

[IV4]

that was me, and it was a hyperbole.

i wasnt saying its like that all over the board - but it does seem like dnb is going that route. and it was more meant from the production side of thing. i mean, its drum and bass - you wont be composing like you would for an orchestra, nor will you be jamming with your bandmates till something good comes out. you put down a chord progression, a melody, some riff and youre done with the "musical" side of drum and bass. rest of your production time goes into actually producing. and that tends to be the most time-consuming part of it. just because drum and bass isnt all that musically but production wise hard to do.

its more of a generalized statement than to be taken 100% serious.

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QFT btw, hadnt read the thread.

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wrong imo. people with labels listen to almost EVERYTHING they get send. because you know, theyre self made entrepreneurs and dont want to sleep on the next best chance. imagine andy c wouldnt have listened to that sub focus demo cd and he was on hospital instead. dont you think andy would be mad? and listen to every demo cd he gets following up? i bet my ass he would.
mostly cause they arent ready to release on the big dogs. some want to do their own stuff but theyre the wast minority. most of the times its just a frustrated producer that thinks he can sell some tunes and just does his own label. those that arent this way are the ones that actually seek quality music and are opening up a different niche (think critical, diffrent etc)

ill bet that there isnt. people that can produce up to THAT standard, know what theyre doing and HAVE definately peers they can send tunes to, and are aware of their skillset and WILL be able to sell that.

no bedroom producer has a tune like stamp out and cant sell it, guaranteed. if he does send it out to a few peeps that is of course. but ALL labels have dropboxes, emails etc.

tbh, and ive been on that semipro status for quite some time now. its all about you. those things you say are just your protection from the "mean world that doesnt give you a chance" when you know deep within that youre not ready. that your tunes just dont cut it. that you have to work on them.

everyone thats capable of doing tunes as catchy, technically perfect and flat out big as stamp out WILL get signed and WILL sell tunes.

obv if you got the right connections itll be easier. but to take that level of knowledge and then postulating you wouldnt be able to sell it if you got it is just pure bullshit.

I got to go with Grolle on this part. Like it or not the "BIG" Labels of DnB are awesome producers. That does not mean I like all their songs but they are still top notch producers. Many of the smaller indie labels suck. They suck because their standard is lower.
Also, someone mention business. It is true that big labels have a target audience, they have to appeal to that target audience to make money. We are the music geeks not the dance floor. Earilier I mentioned I hated the stamp out song by noisia. I do. I really fucking do. Then some dude said, "Wait until you see it tear up a dance floor and I am cunt." His words exactly if I remember correctly. If you can not see the fact that he is right and to an extent that everyone in this argument is at least partially correct then your blind. This is a stupid argument.
I wrote the post about monkeys because who gives a shit. Dnb will always evolve into new shit. Like from hardcore into break core into jungle into dnb into tech step into hard step into liquid into neuro into dub step into pop dnb into poo core into imadethelast2up step.
So to isolate my point a little more distinctly.
Make the music you want to! Listen to the music you want to! If you are good enough to be andy c you will be london electricity, and fucking be happy with it.
I also can never figure out why Netsky is famous, but he still is a better producer than me.