LETTER OF THE MONTH
Dec 1, 2005 12:00 PM
VINTAGE SOFTWARE, ANYONE?
When the recent issue of Remix (October 2005) landed in my mailbox, I wasn't expecting the free gift, the one listed in the small box at the bottom of p. 19 in the middle: www.rebirthmuseum.com. I always wanted a copy of that (God only knows how often I downloaded the freakin' demo over the years), but money always seemed to not be available, or when it was available, something else took precedence.
ReBirth gained popularity for emulating vintage Roland gear. People still value their vintage analog synths or, at the very least, the modern software emulations. Guitarists rave about vintage axes, amps and stompboxes. Several producers swear by running things through their vintage analog effects and mixers. With all this emphasis on vintage gear, why do we never hear about vintage software?
I'm an Acid Pro 4.0 user, and I'll probably not upgrade to 5.0. Why? Because Acid Pro 5.0 is Windows XP only, and my studio is based around a Windows 98SE system. I like 98. I'm comfortable with 98, and I can get it to work how I want. And I don't really have that much of a budget to buy a new computer, upgrade the operating system and then face the task of trying to retrofit my studio.
This is why I applaud Propellerhead's decision to keep ReBirth available (nevermind that it's free). The availability of backward-compatible software is great for aspiring beat makers who can't afford the latest FireWire-equipped, multi-processor, liquid-cooled, 72-inch flat-screen, HAL 9000 bit box. How hard would it be to take a six-year-old program, burn a disk-image file and sell a copy for $20 to $50? It would give some budget-strained musicians some decent tools without bankrupting them — not to mention build up a marketing base for when those beat makers and musicians actually have the money and the patience to upgrade their studios.
Jason Weaver
Fox River Grove, Ill.
For sending in this month's winning letter, Jason Weaver receives a pair of Stanton DJ Pro 3000 ($199) DJ headphones. If you send in the most inspired correspondence next month — or simply the letter that we like the best — you will win a pair, too. All you have to do is send an e-mail to remixeditorial@primediabusiness.com. Please include your full mailing address.
DO YOU BELIEVE?
“Believe in yourself.” We hear it all the time, from family, from friends — from ourselves — because belief in oneself is what it takes to truly make it; to truly be who you are; and, like Blackalicious MC Gift of Gab said in their article (“Higher Frequencies,” October 2005), to express yourself and honor your creator. Believing in yourself, though, can sometimes be one of the most difficult things you do, and it can mean believing in yourself when no one else does — not even those we consider closest to us.
My friend Brett Jackson believed in himself when people told him he was wasting his time playing records, when people told him to abandon the dream of a career in the music industry as a DJ and to study for a “real” career instead. Brett had faith in himself, enduring challenges to his dream at every step of the way. Today, at the age of 23, Brett is South Africa's top deep-house DJ. His personal motto, “Be true to yourself,” is more than simply a saying; it's a living embodiment of who and what we can be when we truly believe in ourselves.
Greg Youatt
Rockwall, Texas
AD BUSTER
One of the brighter points of receiving the mail is getting my monthly subscription from the fine folks at Remix. The way you cover artists about their creative processes and equipment gets much kudos from a guy who doesn't care how many diamonds are in a rapper's Jesus piece or what clubs they like to hit up in what cities. Even if it is someone I really don't care for, I still read because you cover the technical aspect. When you interview an artist, they forget their ego and are themselves. It's a treat for the Remix readers.
I received my newest issue (October 2005) and felt all the air sucked out of the room when I landed on p. 11. Was it an interview from one of the respected founders of hip-hop? Was it the latest software that was going to turn the dance world upside down and right-side up again? Unfortunately, no. It was a fucking beer ad. What's next? G-Unit sneaks? Pimp cups? Four-finger rings? If it has nothing to do with the art, it should have nothing to do with you.
Lance Webb
Fargo, N.D.
THE EARS HAVE IT
In regard to “Turntablist Techniques” (October 2005), I respect anyone who wants to learn or have an interest in DJing. However, I have no respect for anyone taking an easy route or shortcut to get involved in DJing. Whatever happened to taking the initiative to learn by ear? I learned how to scratch by listening to Jam Master Jay when I was about 11 years old. In the late '80s, early '90s, I studied DJ Magic Mike, Mr. Mixx, DJ Scratch, DJ Jazzy Jeff, DJ Joe Cooley, Pete Rock, DJ Premier and Terminator X. I and the other real DJs I know actually listened to songs thoroughly to learn how to execute certain cuts. By doing this, I was able to identify DJs and their songs by their scratches. Now, DJing, much like recent music, has become a cookie-cutter operation where people take classes, watch tutorial videos and buy software instead of picking up some records and learning by experimenting and practicing. Don't get me wrong, aids can be helpful, but they shouldn't be a crutch.
DJ Total K-os
Tampa, Fla.
SCRATCH THE SURFACE
Three years ago, when I started taking DJing lessons, I thought that all I would learn how to do is scratch. All I did at that time was listen to hip-hop, so all I was interested in learning to do was scratch. When I was taking my sixth or so lesson, my teacher and I listened to a few Freq Nasty records and some other breaks, as well; I learned that there is much more to DJing than learning how to scratch. If I would have never taken the lessons, I would have never learned about breakbeats. I also would have never learned about making my own music, which once again takes the DJing concept one step further. Unfortunately, my pockets aren't as deep as I wish they were to invest in all the other things one can do with music besides scratch. I recently saved up enough to buy an MPC2000XL. Now, I'm starting to work on some things of my own with the MPC, but I am still spinning. Every time I'm working on something involving music, I'm happy to know that there's more to DJing than a scratch.
Judd Edelstein
St. Paul, Minn.
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