Jam Burglar

Video is dope! Beastie Boys fans compiled that list of samples ages ago but I've never seen it presented like this. Really dope. I think that was a pretty universal reaction. With "Hey Ladies" being the lead single and disco being the furthest thing from "cool" at the time I remember being like "WTF happened to these guys?" When Check Your Head came out I went back and listened to Paul's Boutique and got really into it. I saw Mike D and Adock do their live show for the book tour last April and they had this thing where they had all the unsold boxes of Paul's Boutique records stacked up. Just thinking of all those brand new, 8-panel copies of that record sitting in boxes ... worth a lot of $$$$ these days. There were some early tracks that the Dust Brothers did prior to linking up with the Beasties (Shake Your Rump, Hey Ladies, Car Thief, and I think one more) but the Beasties worked pretty closely with the Dust Brothers on producing the rest of the beats of the album. People tend to think Rick Ruben did the beats on Licensed to Ill, the Dust Brothers did Paul's Boutique, and that Mario C did Check Your Head and Ill Communication, but in reality the Beastie Boys had a LOT to do with the production of all of their albums.

Looks dope. Wish it had a real efx loop though. I'll take pedals and outboard units over those software effects any day.

I've been VERY close to popping on the 808 clone a few times. I keep telling myself to wait until they get some of the kinks ironed out. I don't know if I'll hold out though. I like drum machines. I'm also pretty interested in the SP2400. I think I'm going to wait to see how it goes. Every once in while I even think about buying an original SP1200. The thing is I've never even had enough to time to fully break in my MPC2000xl. The other thing is that, while the sonics you can get from these samplers are dope and they definitely shape the sound of your music, it's still mostly about the samples you're using. All of the nitpicks about the exact right tone of the sound and whatnot annoy me. I think people are too caught up on that type of shit.

It's for getting the speed of the turntable to low pitches (like -50%). I doubt it does anything to fix uneven speed.

Post a file!

I guess I could be considered objectively "good" by 1995 standards. In 2019 there are some crazy skilled guys out there who make me feel like I should stop trying.

A lot of DJs still use vinyl when it comes to scratching. The Cut-N-Paste records being put out recently are super-dope. I'm with you on the whole digital conversion thing. Most of the records I DJ with are 12" singles and lots of them have instrumentals, different 12" versions, and other differences from the LP, ... or were never on an LP to begin with. A lot of that stuff isn't available on for download anywhere even if I wanted to shell out. I just don't have time to record thousands of records. So, I either stick to the vinyl, or if I've got a custom set and want to use digital, I'll record the records I need just for that set. The digitial stuff is cool because it you can be super-quick with pulling up new songs and sounds, use sounds that were never on vinyl, etc. Still, if you want accuracy and sound quality, wax is still the way to go.

I went ahead and pre-ordered for the bonus wax. I'm a sucker for ol' Josh for some reason. I don't think he'll ever attain (for me) what he did in his early work but I still enjoy and listen to his later albums. I do kind of feel like he's gotten too "left brained" about things. Maybe I'm making a false assumption here, but I get the sense he's more into impressive programming or clever sample techniques than composing at times. I feel like we get flashes of greatness on his later albums, but not full-out gold like on Entroducing or his early EPs. The end of this "Rosie" track is what I'm about.

I think he's doing a reverse OG Flare, where the fader clicks are on the pull-back. The normal OG Flare has the clicks on the forward part of the scratch.

This is hot Mike!

I've always been impressed with how many parts there are in Tears for Fears "Head Over Heels" and how everything compliments each other. Sounds not that complicated but when you break it down it's like "whoah" https://www.youtube.com/watch?v=GsjhSm4YCfw

Met up with the Alf, Ragz and Select again last weekend. Cool how things can lock in instantaneously and you end up with a song-ish type thing. https://www.youtube.com/watch?v=S8AABGvlITo

Yo, these are nice Broma! The first one was my favorite.

It cracks me up the shit people care about with phones. "Oh no, there's a notch in the bezel! That's so July of 2019! Don't they know it's August now?"

Here's one I did in 2007. Live with 2 turntables and some preloaded samples and whatnot from my RC-20 looper pedal. [media]https://soundcloud.com/jam-burglar/jam-burglar-live-with-richard[/media]

Oh yeah, those early records were dope. Private Press is really good too, and there are lots of moments on his other records, he just often meanders. This new joint just seems out of place for a De La beat.

I felt the same way when I heard it. I hate to be "that guy" but there's something about Enroducing that sets it far above his other albums. I respect the fact that he's moved on but damn that first album was 🔥

He does have a point though, look at all the video games Hitler played.

Amazing how this event has grown over the years.

As far as I can tell whatever is left of the company only makes 4 products now: The 72 mixer The MP2015 mixer The 12 Turntable The SL4 Serato Interface Everything else is discontinued https://dj.rane.com/products/

Boom!

Big ups. Never even heard of this label before so cool to see something new.

Maybe the MK5 was analog? A lot of people seem to confuse those two.

The M5G does have digital pitch though.

The pan was kind of dope on this one because it would only pan the highs and mids (but not the bass). Cool effect. The phase was kind of cool too. Slaughter chamber was basically just a dicer and I only used it on rare occasion. The punch in buttons just hampered my development on the cross-fader. I ended up buying a replacement cross fader for it that was looser (the original was pretty stiff). All in all it was a dope mixer from a boutique company that punched way above its weight class. I don't remember how much it cost new. Maybe $300 or so but it was way better than anything you could get for $300. When I lost the mixer in the tragic New Years Day accident of 2000 the company was no longer in business. Paul from Cal Sound and I convinced the insurance company that the ONLY comparable mixer on the market as far as sound quality was the Rane TTM-54 (which was kind of true) so I got my mixer upgraded for free.