https://pages.ebay.com/link/?nav=item.view&alt=web&id=181596332847 Don't want to diss this guy but he does state they are NOT originals why on earth would you pay this sort of money for these plus he is selling these by the bucket loads he should actually state they are NEW ,his starting price is a reasonable £20 ,then you get out bid only to find another copy turns up later I leave this in your ball court

We do check them and reset them but Dj's like to fiddle. They don't seem to realise it sounds different out front.

In my experience they mainly fiddle with the gains, because they think they are volume controls. The mixers have green and red lights. If it's in the green it's safe, if it's in the red it f*****g isn't. 

 

Turning the gain control up is like driving a car at 70mph and slamming it into second gear. 

As others have stated. If you buy a record and don't want to play it, then something is wrong.

I wouldn't buy a record that is such a price that I was uncomfortable to play (unless it was to re-sell).

Simple as that. 

As others have stated. If you buy a record and don't want to play it, then something is wrong.

I wouldn't buy a record that is such a price that I was uncomfortable to play (unless it was to re-sell).

Simple as that. 

Yet some do Geoff.

I think some people have just become lazy when it comes to tracking down and buying records at both ends of the scale .

 

Nowday's you can Google a record and buy it in a few minutes .

 

It seems just as incredible to me that someone would pay hundreds for a bootleg as it does that someone would pay ten times the price of a tune on one of J Manships auctions .

 

With a bit of time and patience decent records can still be found at decent prices , and I'm sure I'm like many here in that I enjoy the chase .

 

When it comes to the price of these boots an old saying springs to mind - A fool and his money are easily parted .

 

And who are you gonna impress anyway ? Those that know no better don't really care .

 

And those who know ...... KNOW .

there must be some on here who is paying the daft amounts for boots maybe thay can explain the reasoning behind it?

What did you expect when hundreds of soul nights all over the country are popping up £3 in djs dave mave maves best mate rave playing nothing but boots ? If people didn't attend these inferior events then the public wouldn't be subjected to a flood of repros on evil bay .

Thank heavens for the deck cams , at least you can see who's doing it right and who isn't .

not any more, unless the camera is aiming at the run out groove

Some can pick up the stamps in the runout groove, I know this for fact ! But I still say it's due to demand from new to the scene djs who, are buying these boots, it's killing the scene but they can't see it , they only see how popular they can be for an hour playing salvadors tomangoes etc whilst paying £10 a pop or £30 on a lookalikey

there must be some on here who is paying the daft amounts for boots maybe thay can explain the reasoning behind it?

I would guarantee there are people on here who buy these copies.....why?....because everyone wants to be a dj....and these will be passed off as originals......at first look at a do, after a few beers etc, you would know no different, and without my glasses checking matrix numbers etc, I'd have no idea either.....who would spend the time to study?...only cheating themselves.....you generally know the collectors, dj's who have the records, and where they will be played......drives me mad!!!........Rob

Maybe this new generation of "Reissues With Exact Label Scans" is designed to try and fool the cameras and those peering over the decks?

 

Des

Without a doubt des

Maybe this new generation of "Reissues With Exact Label Scans" is designed to try and fool the cameras and those peering over the decks?

 

Des

Without a doubt, but what's the point...as soon as someone has a look in there box they will be found out...then you look an arse.....again....what's the point?,,,,,.Rob

Well, no one is looking like an arse, since as yet, no-one's been outed for doing it.

it's absolutely bizarre behaviour though, as it is acknowledging that the ovo rule is a good one while at the same time breaking it.

no one enforces it, there is no punishment for breaking it; the rule only exists for the integrity of the individual.

so those who cheat are breaking a rule that they, and they alone, have chosen to respect and follow.

Its absolutely conflicted behaviour; I think the point people miss is that people would mind much less if these people simply played great tracks off cds or ipods and were honest about it. It's the pretense that offends.

you couldn't make it up really but people never fail to do the crappest thing available.

Such a shame that people feel the need to do this so they can play the same records as everyone else.

So many to choose from, many at less money than a boot-counterfeit-scanned label shite repro, and most infinitely more interesting to listen and dance to.

Not sure if it's been mentioned but all his feedback as a buyer is for pressings and reissues! Obviously has a decent label printer at home and is just sticking them on top.

i called someone on their playing a boot/re, not in a mean way, just "whoa, killer tune" & then when i had a closer look added "oh it's the reissue".  response was "whatever, it's all about the music".  OK. 

another time i was playing a set of pretty rare originals & some older collector came up & said "oh that would have been a nice set if you had the originals", to which i replied "they were", he came back with "sure, you're too young to have those records, you don't deserve the originals".

WTF?!!

It goes both ways hahaha.

Look, i'll buy a reissue as a placeholder of sorts but i'll definitely choose which gig i can bring them to.  Non-specific bar gig, i'll play a reissue.  Specialised soul/funk night, only originals.  A lot of bigger name funk/modern/soul DJs are using reissues now & they have all sorts of reasons to justify it.

I have no idea who is paying high for the reissues though?  That's another level of wtf right there!!

also, if i buy a reissue i'd rather get one with a lookalike label (which still sounds good, not a shonky carve of a mp3 or whatever) over one with a different label.

also, if i buy a reissue i'd rather get one with a lookalike label (which still sounds good, not a shonky carve of a mp3 or whatever) over one with a different label.

I

why?

even at a bar/party gig, where it was just about entertainment, and none of these scene ethics meant anything, I'd still be embarrassed to play a lookalike, cos even if you're not actually pretending to have the original, it looks like you are.

if it's about the music, and collectors integrity doesn't come into it - an attitude I can completely understand - then why still try to borrow that bit of cool from the ovo spirit? Why not make it a utility thing and use white labels, with the names written on in marker, like scratch djs used to do? Or better still, cds? You could do a whole night with ten cds.

its the half measure I cant get my head round. You either follow a ovo code or you dont, its totally up to you; no one cares or polices it. But do or dont. dont follow it, except when its not convenient...or follow it and then try to get around it! what's that say about you as a person or a dj?

That post not directed at you Kris, apart from the 'why?' Bit

because the original labels are more aesthetically pleasing to me as a collector of originals & if i'm gonna have a placeholder re then I like to see one with a similar label to the original because to me it looks better, it's 100% personal preference, i'm not pretending to have the original, i just prefer the way they look.  i don't know, maybe that doesn't make sense, but to me it does.  i'm definitely not gonna try pass them off as originals, i have enough original jams to not have to worry about that.  but as someone who appreciates the artistic look of the original, i don't want an ugly reissue if i can help it.  i'm probably not making any sense though    

I cant understand why you would wish to spend £15 on a placeholder for something you can't afford, when if you take the time to dig on here or on the countless other sales lists available, there are 1000s of fantastic underplayed tunes that you can get for the same price?

 

You have to trust your ears, but the result is that your sets become fresher, and your collection remains original? I guess it depends on the venue you are playing? It doesn't always work mind you :D

Edited January 19, 201510 yr by Mark H CSC

Once again.  Not everybody is, or wants to be, a DJ.  Some people just like to play records at home.  That's why they don't give a toss about what label it's on.  I personally make a living from selling Northern Soul originals in the main, but I can't afford to keep them, so I get a reissue of the same track and play it to myself until my heart is content.  I don't want a cd, I don't want an mp3, I want a record which I can play.

I

why?

even at a bar/party gig, where it was just about entertainment, and none of these scene ethics meant anything, I'd still be embarrassed to play a lookalike, cos even if you're not actually pretending to have the original, it looks like you are.

if it's about the music, and collectors integrity doesn't come into it - an attitude I can completely understand - then why still try to borrow that bit of cool from the ovo spirit? Why not make it a utility thing and use white labels, with the names written on in marker, like scratch djs used to do? Or better still, cds? You could do a whole night with ten cds.

its the half measure I cant get my head round. You either follow a ovo code or you dont, its totally up to you; no one cares or polices it. But do or dont. dont follow it, except when its not convenient...or follow it and then try to get around it! what's that say about you as a person or a dj?

 

Hello old bean...

Though I actually almost always agree with you up to an extent, I think your conception of the kind of people who buy reissues and boots is a little too narrow and informed by your world view / prejudices and so your conclusions from that are somewhat catholic and not seeing the whole reality. Or perhaps it's the other way around.

Anyway, as someone with a smidge of 'insider knowledge', (perhaps most importantly I also work in a record shop which puts me in direct contact with people buying records of all kinds across the spectrum) I'd say that those people who buy reissues / boots etc are actually quite a varied bunch of people. I'd say there are a few 'types':

 

1. Casual vinyl buyers who mostly only buy from record shops and new stock outlets like Juno or whatever, don't spend more than a tenner on a single and aren't particularly interested in collecting original vinyl as they are just buying records. They are probably also buying across genres. Are they pretending to have the original record or do they just like spending some of their disposable income - though not all of it - on some records? In your mind it seems that they can only be faking it, but I don't think that's neccesarily the case.

 

2. Older chaps from various collecting scenes - doo wop, rock and roll, soul or anything else - who have traditionally bought vinyl only and will buy reissues and boots if they can't find an original as a placeholder or else don't want to pay out for it. Again, are they faking it? Not by definition. They undoubtedly know the 'difference' between the original and reissue records they own, possibly even feel a little dirty for owning the reissues, but nevertheless both have a home in their collection.

 

3. Younger collectors / DJs dipping into the music for the first time. They are attracted to records and vinyl for reasons which you might find pretentious but should also be able to relate to - we all fetishize vinyl to a greater or lesser extent and most of us first dipped our toes in with comps and the like. It's convenient to say that nowadays mp3 and youtube has made vinyl unneccessary as a listening format, but even in the 90s there were CDs which most of us rejected as we were drawn to vinyl specifically. Same thing for these people. Some of them will undoubtedly progress to buying originals and collecting in the more devout sense. Some might get bored and flog their collection of boots etc in a few years.

 

It's fair to say I've encountered all these kinds of people and probably many others. In fact what I don't really remember encountering is the kind that you tend to paint - the guy who wants to pretend he's got a load of originals and impress people with them. As I've often said, there are various problems with this - one is the absence of an audience who are likely to be impressed. The only people who care about OVO are not likely to be in the audience of a DJ trying to pass off boots as originals - so the question is who are they trying to dupe and to what end - and as an extension who/what are such people harming? It's also important to realize that the sales on these records rarely exceeds 500 - worldwide (and they do sell just about everywhere, in small numbers). If you allow for the types of people I outlined above, that doesn't leave too many copies floating around in the hands of faker DJs, well not to the extent to match up with the image you often paint of every town having a club and bar with a DJ profiteering from playing boots and repros at the expense of those trying to keep it real with OVO. I just don't think that repros etc are that much of a threat to those who care about music etc as you think they are. For the most part they are simply a part of the same commerce in music as has always existed.

 

Another fact which tends to weaken the idea that boots are just for those faking it, is that it's actually often very common records which sell the best as reissues, and big collector pieces often sell comparatively poorly. Which should show you that those buying them are often doing so for quite different reasons to those you imagine. You often hear collectors who complain about reissues of rarities who then can't ask 'what the f*ck have they done that for, it's a £10 record': aside from the fact that you can't have it both ways, it shows that they fundamentally misunderstand the market - probably because their own approach to buying records / music is so inherently different.

Having said all this, the sheer number of boots and reissues these days is dispiriting to me personally and I believe the scale and speed at which they've been coming out is contributing to a quicker decline in interest in the music than if they were being put out more carefully and thoughtfully. It's increasingly a saturated market, if not so already... You might be surprised to hear me say that, but like I say my views have never been a million miles from yours. Anyway it all means that my own focus is increasingly on putting out the lower end or more common stuff on 45, which basically just makes it 'available' on the format in new record shops, avoiding a lot of the bigger rarities, doing unissued stuff as much as is possible, and then doing more album comps with sleeve notes, photos, scans, interviews etc which takes loads more time and effort and money but hopefully presents the music in a format which actually contributes to its longevity, not the other way around.

Edited January 19, 201510 yr by Mr_Outsider

As for the title of the thread, I don't personally approve of replica label reissues. Quite apart from the possibility that they might dupe someone into thinking they are buying an original (anyone spending 3 figures or more on a 45 should be able to spot a repro a mile off surely?), if I have reissues in my collection, and I do have a few (I don't tend to DJ them though, don't call the police please), I'd rather have a nicely designed Norton label, for example, than a cheap looking scan of the original glaring out at me, they stick out a lot worse as replicas to me for some reason.

Edited January 19, 201510 yr by Mr_Outsider

Hi mate, hope all cool.

While I admire your affection and loyalty to your customers, I just don't have such a sympathetic view of them. None of the 3 categories you identify need to be buying vinyl at all. Many females in those categories?

 

I love music, I collect original records which I dj with. The two have nothing to do with each other. I have about 1000 records and about 10,000 tracks on I tunes, including recordings of what I own on original. I'd like any track that I like on original release - that's the irrational collector in me. But in reality, all I need is the 10,000 tracks on I tunes to listen to.

What is absolutely superfluous to either cause is this in-between thing - a non original vinyl issue. As impractical as original vinyl yet no collectable value. So effectively just a space-wasting and expensive mp3.

 

apart from that, I think you're in denial about the fake DJ phenomenon - for a start plenty of people on here have identified them, I know of them, and if they don't exist, who exactly is it that's paying £200 for lookalike boots on ebay, or £100 for mocked up copy of JT Parker? Which of your 3 characters.

 

I do have a prejudice - against bandwagon jumping culture vultures who milk something that others did the hard work creating, and against this phenomenon of everybody wanting to be a DJ. Fair enough if they all sat on ebay hours listening to shite to find newies, dug around in second hand record shops or warehouses, or went without things to afford some rares...but all I hear is 'I can't afford it', or 'I'm not paying that' from people who go on holidays, drive scooters etc etc.

 

Not saying you have to buy expensive records or look hard for interesting things to play. You don't. But if you want to be a DJ, you do.

 

Maybe only 10% of these re-issues go to wannabe DJs, I don't know. If the other 90% of sales had some purpose then maybe it'd be worth it, but none of it has any point. If only 500 sell, even the artist isn't getting anything worthwhile.

 

All your 3 categories of customer: I don't care about them or their weird attachment to vinyl; if they really loved music they'd be on youtube listening to post after post that people give for FREE. But they're not, I see awesome tracks on there with 63 views, while some cat stuck in a pillow case has 63 million. They're just indulging some weird adolescent cool fantasy fetish, not making the music live and thrive at all.

 

I wanted the music to be popular, but with people out dancing, not nerdy bloke DJs!

 

Anyway, always good to revive this eternal debate with you; better than the 5 linear meters of 'Thanks for the Add' and '***** likes this' I've just waded through on Facebook

Hi mate, hope all cool.

While I admire your affection and loyalty to your customers, I just don't have such a sympathetic view of them. None of the 3 categories you identify need to be buying vinyl at all. Many females in those categories?

 

I love music, I collect original records which I dj with. The two have nothing to do with each other. I have about 1000 records and about 10,000 tracks on I tunes, including recordings of what I own on original. I'd like any track that I like on original release - that's the irrational collector in me. But in reality, all I need is the 10,000 tracks on I tunes to listen to.

What is absolutely superfluous to either cause is this in-between thing - a non original vinyl issue. As impractical as original vinyl yet no collectable value. So effectively just a space-wasting and expensive mp3.

 

apart from that, I think you're in denial about the fake DJ phenomenon - for a start plenty of people on here have identified them, I know of them, and if they don't exist, who exactly is it that's paying £200 for lookalike boots on ebay, or £100 for mocked up copy of JT Parker? Which of your 3 characters.

 

I do have a prejudice - against bandwagon jumping culture vultures who milk something that others did the hard work creating, and against this phenomenon of everybody wanting to be a DJ. Fair enough if they all sat on ebay hours listening to shite to find newies, dug around in second hand record shops or warehouses, or went without things to afford some rares...but all I hear is 'I can't afford it', or 'I'm not paying that' from people who go on holidays, drive scooters etc etc.

 

Not saying you have to buy expensive records or look hard for interesting things to play. You don't. But if you want to be a DJ, you do.

 

Maybe only 10% of these re-issues go to wannabe DJs, I don't know. If the other 90% of sales had some purpose then maybe it'd be worth it, but none of it has any point. If only 500 sell, even the artist isn't getting anything worthwhile.

 

All your 3 categories of customer: I don't care about them or their weird attachment to vinyl; if they really loved music they'd be on youtube listening to post after post that people give for FREE. But they're not, I see awesome tracks on there with 63 views, while some cat stuck in a pillow case has 63 million. They're just indulging some weird adolescent cool fantasy fetish, not making the music live and thrive at all.

 

I wanted the music to be popular, but with people out dancing, not nerdy bloke DJs!

 

Anyway, always good to revive this eternal debate with you; better than the 5 linear meters of 'Thanks for the Add' and '***** likes this' I've just waded through on Facebook

 

Dunno what you mean that they don't need to be buying vinyl - who does? Other than people who you think are proper DJs doing it the right way? Are people not allowed to collect records and listen to them at home? Because believe it or not quite a lot of people 'collect' reissues along with other records. You might think that's silly, but in that case you're basically elevating a certain kind of irrationality - i.e. your own - above others. No? I guess you're saying that if you weren't a DJ you would sell all of your record collection and listen to MP3's alone. Maybe you would, but I personally will probably stop DJing at some point but can't see myself wanting to flog everything immediately, or maybe ever. I always think of myself as more of a DJ than a collector, I don't tend to spend big on stuff without any DJ appeal, but I also like having records as possessions I suppose. That's irrational, yes, but I wouldn't ever argue it wasn't.

 

The percentage of girls who fit into any of those categories, is roughly the same as the percentage of girls who buy any kind of records, originals etc - if not a bit higher actually. Which is to say, not very many at all, for whatever reason. A lot of girls spend their spare cash on stuff I personally think is b*llocks, but I'm not judging them for it!

 

If I'm in denial about the fake DJ phenomenon it's because I've been hearing about them for nearly 20 years but have yet to really encounter them... And even if they do exist, I still can't see what damage they are doing to a scene and audience which do not entertain or host or provide any stage for them... As for the people buying expensive lookalikes on ebay - fuck only knows, sounds like serious mental issues to me, but first off I haven't seen anyone DJing with one of them, I don't think they can be seen as a significant group of people, and secondly, spending £200 on a 45 of any kind separates them from the average person who spends £5 on a new reissue so I don't think you're talking about the same people anyway.

 

A lot of the other stuff you're talking about is sort of just waving your fist at the world - the phenomenon of a great song having no views on youtube is not actually disconnected to reissues - as I say, they only sell a few hundred copies worldwide, it's actually indicative of the same problem, even if you personally disapprove of the format. Interest in great music is an extremely marginal pursuit. But I'd say that companies like Norton, who I already mentioned, are certainly doing more to preserve old music and promote its popularity through their numerous well made comps and reissues than someone randomly farting out songs on a youtube channel. Maybe that's my own prejudice though, but I do think there is value in giving the music a context, treatment and package that it hasn't been afforded before. I don't think the replica boots do much to preserve or promote anything though, as I already said.

 

Yes, it is always worthwhile picking through all this shit again... Somehow it never gets quite boring enough for me to not get drawn in. As for facebook, when, what, how? I stay on facebook to plug my clubs etc but mainly use it as a platform for pointless ranting. Where do I find you?

Edited February 7, 201510 yr by pikeys dog
swearing - work filters

Just started a pow wow club group mate. I'm not on there personally except to admin the page. Join up and post us some gems or have a re-issue debate with us :-)

Of course I'm placing one irrational pursuit over another, that's what life is no? I'd place archaeology, for example, in finding and preserving history for our interest, higher than dog turd collecting.

The reason being I just think one has more net benefit to humanity.

Similarly: collecting of original records preserves something that was never designed to be preserved, but sure deserves to be.

re-issue vinyl does nothing really, its a seedy trade off between the image of one type of individual with the bank account of another. No net gain for humanity.

we waste a lot of time and resources, as a species, on pointless crap, often to satisfy childish emotional needs. Why not start cutting out the crap? If its pointless and adding nothing, lets do away with it.

Edited January 20, 201510 yr by pow wow mik

A lot of the other stuff you're talking about is sort of just waving your fist at the world - the phenomenon of a great song having no views on youtube is not actually disconnected to reissues - as I say, they only sell a few hundred copies worldwide, it's actually indicative of the same problem, even if you personally disapprove of the format. Interest in great music is an extremely marginal pursuit. But I'd say that companies like Norton, who I already mentioned, are certainly doing more to preserve old music and promote its popularity through their numerous well made comps and reissues than someone randomly farting out songs on a youtube channel. Maybe that's my own prejudice though, but I do think there is value in giving the music a context, treatment and package that it hasn't been afforded before. I don't think the replica boots do much to preserve or promote anything though, as I already said.

?

I agree with all that by the way; I can see the purpose of old forgotten music being repackaged and remarketed for the modern era - researching and telling the stories, crediting and paying the right people - and think companies like yours, norton and ace do a great job of it

Edited January 20, 201510 yr by pow wow mik

there are a lot of DJs/Collectors outside of the Northern scene who buy records to play & actually don't give a care if it's a reissue/boot etc, they just want it on vinyl & will play it at home/gigs/radio.  I did a guest spot at a gig the other week which was a 7" only affair & I was the only DJ out of at least 20 playing originals, EVERYONE else was playing new releases, reissues or bootlegs.  These are the people buying these records, but they aren't the people paying hundreds for them, I still don't know who they are.....??

there are a lot of DJs/Collectors outside of the Northern scene who buy records to play & actually don't give a care if it's a reissue/boot etc, they just want it on vinyl & will play it at home/gigs/radio.  I did a guest spot at a gig the other week which was a 7" only affair & I was the only DJ out of at least 20 playing originals, EVERYONE else was playing new releases, reissues or bootlegs.  These are the people buying these records, but they aren't the people paying hundreds for them, I still don't know who they are.....??

I dj out of 20, yes 20!, playing originals...liam, I thought you said they weren't djing with them !? Looks like you dont know your punters mate :-) liam?

a lesson is reading may be required lol, it is stated but not very clear.... making a fortune fair play..

I guess they'll learn the error of their ways when they get bored with their short excursion into the rare soul scene and then try and sell them on

I dj out of 20, yes 20!, playing originals...liam, I thought you said they weren't djing with them !? Looks like you dont know your punters mate :-) liam?

Liam's records made an appearance    (disclaimer: none of the other DJs are usually 7" DJs, they are all 12" LP CD Serato people).  It also wasn't strictly a soul gig, lots of reggae & new (beats) stuff was played.

Edited January 21, 201510 yr by Kris Holmes

Liam's records made an appearance    (disclaimer: none of the other DJs are usually 7" DJs, they are all 12" LP CD Serato people).  It also wasn't strictly a soul gig, lots of reggae & new (beats) stuff was played.

 

Thank God for that disclaimer, I feel a whole lot better now. ;)

who are these DJ's that are taking over the world and threatening the soul scenes very existence? 

  It's cuckoo land and denial to even think this! 

 

Just take a look at the event listing guide on here, the same names at every gig ?  Name them I say, whilst naming the 'look a like' label spinners. 

 

 anyone ? 

  Yes Pete thanks, but who knows what's in the reissue run offs as opposed to the originals ? The info is only in the bootleg guide if it's been bootlegged ! Maybe the next Price Guide will need to have orginal matrix information included to help differentiate if you can't tell labels apart. And do you think that every one is really an old reissue underneath ?

IF YOU BUY THE MANSHIPS 5TH PRICE GUIDE IT'S GOT A LOT OF BOOTLEG INFO

Edited January 21, 201510 yr by JOE TORQUAY

In my experience they mainly fiddle with the gains, because they think they are volume controls. The mixers have green and red lights. If it's in the green it's safe, if it's in the red it f*****g isn't. 

 

Turning the gain control up is like driving a car at 70mph and slamming it into second gear. 

Actually, if they knew what they were doing, DJs should slightly constantly adjust the gains on each record as necessary to keep that channel in the green........necessary if using 45s and LPs, but also recording levels differ on 45s, some dramatically, and the gain should be adjusted to suit.

 

However, most think its purely an 'extra volume' control....banging it up to max, red lining and distorting the mixer output which then gets amplied to MORE distortion.

 

Its a necessary tool of the mixer if used correctly......however, on the Soul, R&B and Mod scenes, this is rarely the case.

 

Plenty of Youtube tutorials out there if you want to check them out.....I'll add one for convenience (start at 1.15 mins if presenter is too annoying for ya !)

 

If you DJ, or about to DJ, and don't fully understand how a mixer works, please spend an hour or so educating yourself.....

 

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

Edited January 21, 201510 yr by Mace

Thank God for that disclaimer, I feel a whole lot better now. ;)

ah, you know what i mean, i think it's cool that your stuff is also crossing over to people who might not usually check for 45s.  you do good things!

who are these DJ's that are taking over the world and threatening the soul scenes very existence? 

  It's cuckoo land and denial to even think this! 

 

Just take a look at the event listing guide on here, the same names at every gig ?  Name them I say, whilst naming the 'look a like' label spinners. 

 

 anyone ? 

 

There are none at.... Burnley, Lifeline, Radcliffe, Soulfunktion, Empty Bottles, Driving Beat

There are none at.... Burnley, Lifeline, Radcliffe, Soulfunktion, Empty Bottles, Driving Beat

How do you know?

Actually, if they knew what they were doing, DJs should slightly constantly adjust the gains on each record as necessary to keep that channel in the green........necessary if using 45s and LPs, but also recording levels differ on 45s, some dramatically, and the gain should be adjusted to suit.

 

However, most think its purely an 'extra volume' control....banging it up to max, red lining and distorting the mixer output which then gets amplied to MORE distortion.

 

Its a necessary tool of the mixer if used correctly......however, on the Soul, R&B and Mod scenes, this is rarely the case.

 

Plenty of Youtube tutorials out there if you want to check them out.....I'll add one for convenience (start at 1.15 mins if presenter is too annoying for ya !)

 

If you DJ, or about to DJ, and don't fully understand how a mixer works, please spend an hour or so educating yourself.....

 

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

That hilarious, the first person on would crank the line fader up to the top as a matter of course. Then the next one would turn the gains up.

That hilarious, the first person on would crank the line fader up to the top as a matter of course. Then the next one would turn the gains up.

Possibly so, but that's through lack of understanding what the gains are actually for, and as I've pointed out, doesn't take much to learn.

You do come over very bitter and negative in the majority of your posts Phil....why is that?

Edited January 22, 201510 yr by Mace

Possibly so, but that's through lack of understanding what the gains are actually for, and as I've pointed out, doesn't take much to learn.

You do come over very bitter and negative in the majority of your posts Phil....why is that?

I'm old and poor.

I'm old and poor.

Reason enough....

How do you know?

 

Because i attend the places!

Because i attend the places!

So what. Do you stand at the decks all night and inspect every record?

So what. Do you stand at the decks all night and inspect every record?

 

No, but i sit and inspect your postings and think "what is wrong with this man"

Do you ever have anything nice to say?

No, but i sit and inspect your postings and think "what is wrong with this man"

Do you ever have anything nice to say?

Wrong answer, you don't know then.

Wrong answer, you don't know then.

 

OK, you win, hope that makes you happy

A guy on eBay that regularly lists these pressings/re-issues with stuck on labels won a couple of 'proper' 1970's vintage pressings off me recently, I am now expecting them to be auctioned off very soon with freshly printed labels and see him get  back three times his original investment.

He is very honest (if you can call it that) about what he is selling, so I won't make further comment on that side of things.

 

I doubt that I am alone in this, but when I was regularly attending venues in the 1980's and 90's, part of the thrill for me was being in the same room as those rare pieces of vinyl that the DJ had spent a lot of time and money tracking down to play for our listening and dancing pleasure.

 

I'm now struggling with the idea that there are 'imposters' going up and down the country, carrying boxes of mocked-up 45's to play to the paying punters. Come to think of it, I attended an event last year and every now and again, the sound quality off some of the records seemed suspiciously poor, so I guess I may have been an unsuspecting victim of someone spinning a few boots here and there. 

 

Maybe I'm just over sensitive, I felt terribly cheated when I found out that Jools Holland's Annual Hootenanny wasn't a live broadcast and was actually recorded in October...