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Studio DJ Tab
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VIEWS: 140
    
PLAYS: 0
    
Studio since: 29 August 2008
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STUDIO ADDRESS
http://pulseradio.net/studio/DJ_Tab
SESSIONS
PROFILE
As Dj's go I'm relatively new to the party circuit, in the last year or so I've gone from bedroom Dj to a regular feature on the London Underground party scene. Things have moved really fast over recent months so I thought it would be good to document where I came from, and how I came to be there...

I remember my folks had a decent record collection, most of which was taped for listening to in the car. I grew up on a diet of The Carpenters, Queen, Sky, The Goon Show, Django Reinhardt, Mungo Jerry, and Terry Wogan on Radio Two. As a teenager I went through my charts days hunched over a cassette-player trying to record all my favourite tunes of the week whilst editing out the Dj and I was there daily for Steve Wright in the afternoon and Adrian Just on Saturdays. In hind-sight it's wierd to note that many of the tunes I really loved as a kid were all electronic - human league, soft cell, new order and depeche mode were all there.

Later in teenagerdom I hit punk, metal, goth and indie - bands I went to see included New Model Army, Birdland, Carter USM to name a few....many festivals were attended over summer holidays. I also got into reggae and dub when I was given a Peter Tosh album which led onto Lee Scratch Perry, King Tubby and Dub Syndicate.

The first dance tune I heard was e-zee posse, "everything starts with an e." I remember being excited at how new it sounded, completely different to what I was listening to at the time. I began collecting Dj tapes in an effort to hear more, the first two cassettes were from The Eclipse Club in Nottingham, many more followed..... Prodigy, The Orb, the KLF and N-joi were everyday chart items at the time as well as The Shamen, the world seemed to be going dance music crazy with the Dj at the helm...

Later that year a friend sold me his old belt-driven Technics. I then began to haunt record shops....buying mostly hardcore since that was the scene at the time, and I still enjoy a good dig through some decent OldSkool today. I then got bitten by the techno bug mainly thanks the TechnoDredd series of mixtapes, then I heard some Jeff Mills tunes and I was off in a new direction.

After I moved to London, I became a regular attendee of Club Dog and MegaDog events. Orbital, System7, Eat Static, The Higher Intelligence Agency, Speedy J and many other great acts became firm favourites. Through this I became interested in the Ambient scene as well and my collection of weird and obscure electronica began to take shape.

It was through a work colleague that I got asked to play some records for a staff party. He lent me an extra deck and his mixer so I could practise for a week to get an hour set together. On the night it really didn't go well, looking back it was evident my playlist was wrong for the crowd I was playing to. I was bitten though and a week later I was stood in Tottenham Court Road haggling over the price of a second deck, a Vestax mixer and a CDj500s...

As of then I was a bedroom Dj, the trainspotter in me was strong and the record collection began to increase at an alarming rate. Having a cdj also meant I could fiddle around with loops. If I had nothing to do, or the weather was inclement I would be found messing around with records, trying new things....

One year I was offered free tickets to the DMC World Scratch mixing finals. It wasn't strictly my bag so to speak but I wanted to go and see what was what! I wasn't sure what to expect, I remember spending most of the night sat where I had a good view of the Dj just being completely amazed by what they were managing to achieve. It wasn't just the technical prowess and showmanship on display, but the motley selection of records used to create new music to order.

Since then I've tried to incorporate more scratching, cutting and general-record-tomfoolery into my mixing style, I no longer believe that everything needs to be beat-matched from the start to the finish of a set. I've become more open to the concept of the turntable as a musical instrument as opposed to a means of playing records. I too now am building my very own collection of the bizarre, weird and wonderful records to amuse and entertain with.

Not long ago I met Parky, who then introduced me to tendril and a short while later I had a warm-up set for HouseBreakin' - a London party collective who organise parties reminiscent of the good old days... Much to my amazement they asked me back a month or so later, and since then I've had a regular slot at their parties and have become involved in the organisation side of things as well. The regular exposure has given me amazing opportunities to reach an audience, as well as learn the art of the Dj in a real environment. We've also made an amazing set of new friends which is growing rapidly!

I've since played for OneUpSystems, Sky High Soundsystem, The Courier Dj's, I've also played at The Rhythm Factory and The Platinum Bar in London and now have a regular Sunday show on Interface pirate-radio from 6pm until 8pm. I don't know what to expect next but I do know that I want to continue getting myself out there playing tunes for you lot -so I really hope you enjoy my web-pages, and that you'll come to a party soon.
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17 November 2008
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17 November 2008
DIGITAL NEWS
17/11/08 Trouble Ahead, Trouble Behind: More Rockiness Awaits
17/11/08 Trouble Ahead, Trouble Behind: More Rockiness Awaits

A difficult rearview is now prelude to more turbulence ahead, and investors are exercising caution.  Instead of heady optimism and bottom-scraping scrappiness, most are girding for another rollercoaster week, including those carrying music-related shares.

That includes Warner Music Group (WMG), a company that bottomed an all-time low of $2.74 last week, only to resuscitate to $2.77 by Friday.  Sirius XM Radio (SIRI) also tested the trough by landing at 26 cents at the end of the week, a depressed valuation that betrays a host of serious ills.  

Those companies have fundamental issues, though broader headwinds remain unfriendly.  On Friday, the Dow shed 337.94 points to 8.497.31, a 3.82 percent drop on Friday.  Overall, the Dow dropped 4.2 percent on the week, based on a bearish mix of bad earnings, layoffs, tightening consumer confidence, and pending meltdowns of mega-corporations like GM.

Other music-related stocks felt the pressure.  Live Nation (LYV) landed at $5.50, a 36.6 percent drop on the week, based on negative analyst projections related to concert attendance.  Irving Azoff-helmed Ticketmaster Entertainment (TKTM) also ended sharply down, dropping 24.7 percent to $5.87.  The Orchard edged downward 1.9 percent, landing at $2.54; and Apple (AAPL) slipped 5 percent to $90.24.
16/11/08 More Layoffs at Sirius XM Radio...
16/11/08 More Layoffs at Sirius XM Radio...

Sirius XM Radio is continuing to shed staff, a pare down that comes against a troubled company forecast.  The latest round involves roughly 30 staffers, according to a tips from All Access, FMQB, and Orbitcast.  The move closely follows a freshly consolidated dial, and the eliminations involve a number of program directors from shuttered stations.

Last week, Sirius subscribers were transitioned into the merged dial, a process that created some confusion among listeners.  Additionally, the elimination of certain stations - often in favor of a redundant or similar station - created some disappointment among loyal followers.  The broader impact on subscription levels remains unclear, though the move towards a simpler, consolidated dial was probably inevitable. 
15/11/08 Duke Wants Proof; Pushes Back Against RIAA
15/11/08 Duke Wants Proof; Pushes Back Against RIAA

Duke University now wants proof of infringement before forwarding an RIAA notice, according to the Office of Student Affairs.  That replaces an earlier practice of simply passing a pre-litigation notice through to its students, without examining the case.  "What we're saying is that in order for us to pass on a settlement letter to a student, we're going to start requiring evidence that someone actually downloaded from that student," vice president for Student Affairs Larry Moneta told Duke newspaper The Chronicle.

The move probably presents a speedbump for the major label trade group, though symbolically, it signals another episode of resistance by a major university.  It could also signal the beginning of greater levels of pushback, based on technical definitions of what constitutes infringement.  Outside of academia, the RIAA is now defending an infringement methodology that equates "making available" with illegal transfer.  An upcoming retrial focuses on whether induced downloads through RIAA partner MediaSentry are a veritable substitute for actual downloads from a third party, a transaction that is far more difficult to prove.
15/11/08 IODA Gets a Bigger Piece of Indie Japan...
15/11/08 IODA Gets a Bigger Piece of Indie Japan...

IODA is now pushing further into the Japanese independent music scene, thanks to a deal involving BounDEE.  The San Francisco-based IODA, a top digital distributor for a range of independent labels, is tapping BounDEE to distribute content across a number of online and mobile outlets in the region.  BounDEE is also offering physical and marketing solutions for a smaller group of IODA labels and artist.

The BounDEE network includes over 200 stores, a footprint that includes a significant mobile reach.  Most importantly, BounDEE offers a relationship with mobile music heavyweight Label Mobile, just one of several important partners.  According to figures from the IFPI, 91 percent of music is consumed over mobile devices, a ratio that makes it imperative for IODA to expand beyond outlets like iTunes Japan.  "Our relationships in the mobile market will help IODA's labels get access to the number one way digital music is consumed in Japan," said Hideaki Shimizu, chief executive. of BounDEE.

In return, IODA will also distribute BounDEE artists into regions like the United States, part of a recipricol deal. 
14/11/08 Lost Beatles Track Surfaces... Now What?
14/11/08 Lost Beatles Track Surfaces... Now What?

Beatles aficionados were recently delighted to find that a 14-minute, "lost track" actually exists.  The track, "Carnival of Light," was confirmed by Paul McCartney during a recent BBC interview.  "It does exist," McCartney told BBC Radio 4.  The song was actually conceived in 1967, and performed only once in public, according to McCartney.  "I like it because it's The Beatles free, going off piste," McCartney described. "The time has come for it to get its moment."

The song was rejected for inclusion in the Anthology compilation, according to McCartney, and the fate of the track remains unclear.  As described, the song sounds more like a sonic escapade, and less like a tightly-conceived Beatles classic.  Perhaps more "Revolution 9," and less "Love Me Do," though the presence of the track could re-energize digital discussions.  The Beatles, longtime digital holdouts, have yet to license their content online, though fans have been trading the entire catalog illegally for more than ten years.
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