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I hooked up with my man Darkside who makes these wicked videos and decided to do a reedit and add some cuts. I use some vocals off my new release The Boss - http://rhythmrollers.uk/The-Boss https://www.youtube.com/watch?v=VNXIlhryRrQ Holla.

JB's got it in one. There's nothing wrong with having rules, even strict ones. It's when you start aggressively imposing them on everyone else that you start to come off like an anus hole. BTW that YouTube show is called Rhythm Roulette and it's wicked. Been a few threads on here about it...

I really haven't had time to work on it recently. I think all I have to do is implement SQSO subchannel emulation for the servo, I have I2S and SBSO all sorted. I'll update after xmas when I have more free time.

It's really fucked up that so many people care less about the music than the physical medium it's played on.

I remember that Live at Future Primitive mix by Z-Trip and Radar that's brilliantly put together and rocks from start to finish but there's one mix going into "Hey Ladies" that's a bit of a car crash at the start of it and although they bring it back it does spoil it a bit for me. But I guess they were just doing it to keep it real.

There are some cases where the second or third iteration of a record sounds better quality than the original press. Does that qualify? Maybe it's only recent reissues that he's got a problem with. It's a known thing that producers like DJ Premier used to sample some of their drums from Ultimate Breaks comps in the 90s but I don't see anyone throwing the book at them.

It used to be the same thing with artists like Shadow and others telling people in a highly superior tone how they couldnt have any integrity or truly love the artform if they made records that were not sampling the original pressings which was an utterly laughable statement to make and it pissed me off no end ... Why ..will it make the quality of what you do any greater ?...erm nooo thats down to how you use the samples in the first place and more to the point who can even tell if the records a repress once its been boosted in a track or a mix ? There used to be a fairly well known DJ and producer that I knew years ago who used to give me no end of grief because i was buying as many Funk and Soul repress singles and compilation lps as I could get my hands on too listen to or sample because the prices of the originals ( which i also happened to own many of )were becoming fucking stupid .. and who wants to pay £200 for a bloody 4 bar drumloop..i certainly dont thats for sure I was actually sat with my brother one time in his house in the late 1990s and I was playing him some tracks id been working on and id also taken over a bunch of comps id used to record them with which were stood in the corner of the room Well,this same dick walks in and asks what we are listening to and i mentioned that they were just mixes I was working on and gestured towards the records id been using The next thing I knew the fucking arsehole got up ,walked over to the stereo and TURNED IT OFF ! and we ended up having this totally idiotic and pointless argument over the 'authenticity' of the records id used... I was so mad i wanted to seriously drop him hard on the spot right there and then It was only because he was my brothers mate that he didnt get laid out and luckily for him my bro also asked him to leave... what a fucking grade A jerk he was...

A little makeover last night for my Rodec Scratchbox

I kinda look like bolo. From a distance Of 2000 feet

Yo! The first Promo is just 2 revolutions of my new Scratch Wax 'The Boss'. I will be uploading a new promo every week to showcase the samples that are on it, none to my knowledge have been used on other scratch records apart from the obvious (fresh & Arhh), Loads of drum, synths, bleeps and basses, with locked vocal phrases. We have spent over a year putting this shit together to try and give people some unique sounds to manipulate, we are very proud of it. We hope you all like it. No.1 - Mr. Wonderful (Death Star Drums) No. 2 - My man Technical J Flipping (My Selecta) No. 3 - Mr. Wonderful (Drop My New Style) No. 4 - Mr. Wonderful (Run Tings) No. 5 - Mr Wonderful (Brand new Plastic) Pre-Order - http://rhythmrollers.uk/The-Boss

has someone done it? I tried but it doesn't slow down, it goes faster..

Unfortunately that method of adding people on Live no longer works. I'll rewrite the list in a bit and add your name to it. Avatars are here though: - http://avatar.xboxlive.com/avatar/*YourGamerTagHere*/avatar-body.pnghttp://avatar.xboxlive.com/avatar/phology86/avatar-body.png

ordered. another for the collection!

Sampling 'rules' is an interesting one. I think my own take is roughly in line with everybody else on here... I have no absolute rules for myself, but through work at least and sometimes going to other shops, I take home new records (and sometimes CDs!) for sampling every week. Not through some pride or any excess of funds (I have none), but just because I'd be fool not to take advantage of one of the very few bonuses that comes with my shitty job. So mostly, I just sample what I find myself as it turns up around me. Like I said, no rules, I just find it more fun, part of my own process and I've always got more samples than time to use them. I'll sample any format and any issue - beggars can't be choosers. I've always viewed people getting funny about having to sample from the original 45 or LP release as a sort of 'sampling gentrification'. Simply put, when hip hop started and sampling started it was about poor people making what they could with the limited resources around them - it's this ethos that's a solid part of what I like about sampling and hip hop in general. When some of the pioneers or sampling started off, if their parents had a Best of James Brown compilation album with a sample they liked, I really don't believe they then went out to find the original 45 at great expense. The Beatminerz used to buy tapes of records they couldn't afford FFS! I would however recommend checking out samples you like repeatedly on different issues. Recently I found really clean UK 45 issues of the 'Papa Was Too' and 'What is Soul?' and the drums breaks on them really slap harder and sound crisper than the multiple other copies I have of these breaks recorded from various other sources. Likewise, I've found better examples of others on re-issues and compilations when compared to the original 45s. Overall, I've got to agree with JB and JC, rules are fine self imposed for whatever reason but don't go judging and preaching on others.

The main problem i have with Hip Hop producers who moan about this type of vinyl snobbery is that the majority of their work very often doesnt even give credit to the artists they've sampled in the first place which ultimately throws their argument straight out of the window for me An album like Entroducing for example was built on a ton of uncredited samples apart from obvious ones made by rich white artists like Orion by Metallica or Invisible Limits by Tangerine Dream where there had to be sample clearance otherwise those bands record company lawyers would have sued the fuck out of him and Mo Wax but the lesser known mostly black artists who were sampled wouldnt have the resources or whatever to file a lawsuit so theyre left to sing for their supper so to speak and that to me just smacks of sheer hypocrisy coming from people who claim to have a deep love and respect for those original artists and their records.... Well, if you love and respect these artists so much why dont you fucking credit them so they can earn a few quid ,or at the very least flip those samples so damn hard that they cant be spotted by a bunch of anoraks like myself ?.. Dont misunderstand me because im not trying to single out Shadow here particularly as plenty of other artists spring to mind and also because i happen to really like the records hes made, but he is or certainly was back then, a prime example of the type of bullshit 'dick measuring' mentality that goes on which Joe mentioned previously From what I understand Shadow actually tracked down some of these band members from long defunct bands to get them credit. It's actually a lot easier to pay somebody who's well known. I also don't care about sampling a repress, or any of that. The true snobs usually don't have chops and they're just trying to compensate for their lack of skills. There are dudes, Damu the Fudge Monk for example, who create their own internal, self-limiting rules for making music. I fully understand this. Damu won't sample a repress. So, if you hear him use Manzel, Space Funk, that means he found the original somewhere. It's not a superiority thing, it's a self-imposed restriction he uses to create his art. The digging is part of the challenge for him. Other producers will limit themselves to certain types of equipment, some people will only sample off of vinyl, some people won't use samples that have been used, some people force themselves not to use loops, etc. etc. They have a whole youtube series where they blindfold the dude and they pick out 3 records. Or the beatmaking challenge on this site is another example. Personally, I'm a big fan of this type of thing. If you create your own parameters then you can play around in that world and see what do within those restrictions. It's a good way to generate ideas. I'm working on an 80s mix right now and the rules are (1) all the music has to come from vinyl and (2) the vinyl has to be made in the 80's. I always end up fudging in a place or two but the overall structure makes the project pop a little bit more.

Any updates on this ?

Joe - yes, I gave away my original Johnny Harris 'Movements' LP in so so condition on this very forum, because I had a clean double vinyl, late 90s re-issue which is much louder and better sounding. Jeljms - I love that mix too. It has its imperfections as it's really recorded live in the club, but what a great thing to pull off live. Rasteri - yep, it's fucking stupid and despite having many, many records of the small, faster-spinning variety - cos that's just how a lot of music came out - I feel like hiding away all my 7"s until the worst of the hipster bullshit has blown over!

The main problem i have with Hip Hop producers who moan about this type of vinyl snobbery is that the majority of their work very often doesnt even give credit to the artists they've sampled in the first place which ultimately throws their argument straight out of the window for me An album like Entroducing for example was built on a ton of uncredited samples apart from obvious ones made by rich white artists like Orion by Metallica or Invisible Limits by Tangerine Dream where there had to be sample clearance otherwise those bands record company lawyers would have sued the fuck out of him and Mo Wax but the lesser known mostly black artists who were sampled wouldnt have the resources or whatever to file a lawsuit so theyre left to sing for their supper so to speak and that to me just smacks of sheer hypocrisy coming from people who claim to have a deep love and respect for those original artists and their records.... Well, if you love and respect these artists so much why dont you fucking credit them so they can earn a few quid ,or at the very least flip those samples so damn hard that they cant be spotted by a bunch of anoraks like myself ?.. Dont misunderstand me because im not trying to single out Shadow here particularly as plenty of other artists spring to mind and also because i happen to really like the records hes made, but he is or certainly was back then, a prime example of the type of bullshit 'dick measuring' mentality that goes on which Joe mentioned previously

mine is phology86 I've got tons of PS3 games to get through before I start on XBOX

That whole 'you must only use original press vinyl in a mix' thing is just dick measuring bullshit. I often find that people who make these claims also make drab mixes. Interesting topic. I haven't done a one-take mix in years. I might do one for a laugh and only start again if I REALLY fuck up.

Ooooh god damn! You killed the Ahh Yeahs!!!!!!!!!!!!!!!!!!

Uhhh, you're skipping mate ;-)

Gonna have to get my northern arse down to one of these jolly nice fun looking scratcher bashes for sure at some point in 2017... I might even bring a copy of Hee-Haw brayks and have a go myself... You can all relax cause i was only joking about having a cut and using Hee-Haw btw ... i'll bring Gag Ball Breaks and just use that instead hahaha...

that's the CNP stockmarket report......

Here's my new set up. I'm so pleased its finally done. This was meant to be finished in August at the same time as I moved back to Leeds and started my new job. It took a lot longer than that, but I won't bore you with the detailed account of my frustrations. This is probably the best I've had my equipment set up in terms of ease of use and not having to unplug everything to use kit in different ways, so I'm looking forward to using it. EDIT: Oh Shit - just realised this is my 808th Post!!

I always contact the shop to see what they say. The last time I bought a warped record it was from Juno and they had no copies left to send me a replacement, so they gave me a full refund and let me keep the record, which was nice. Personally I would consider warped records to be faulty, so you should be covered by the usual consumer rights regarding faulty goods.

Send them back to Cut & Paste!

see, when I largely stopped sampling other records in my own tracks I started using those techniques for my mixes insted. as there's no "mixing" involved in them because they're entirely production mixes that might fall foul of what R Funksmith is saying, but I always preferred production mixes personally anyway. things like Signify's 'Mixed Messages' were half the reason I got into production in the first place and I don't see that there'a really a distinction between mixing and production on that level

I've heard the type of mixes you're describing, but I wouldn't say that the issue with them is that they're too perfect. They're just bland. Auto-sync is largely to blame for that, because when you had to learn beatmatching manually, as you were learning that, all your other skills would improve too. These days, I hear plenty of mixes where the beatmatching is perfect because of sync, but the rest of the mix is cack. If the mix was the same, but it had some mistakes in it, it would still be bland though and I don't think the mistakes would make it better - I think they would make it even worse. As for integrity, all I care about in that respect is that a DJ doesn't lie. If you're using sync, don't tell me you did all the beatmatching manually - that kind of thing.