dds-dds

That's pretty much my point:) A new technology brought new ideas to a cultural discipline, new forms of music, twisting and morphing the old forms, especially in the hands of the naive, yet creative youth. I see the same opportunities here, another new tool for the artistic arsenal.

The sarcasm is irrelevant, my use of that term is more a nod towards this platform and historical replies in past discussions, in regard to similar situations. I'll make an effort to excise any superfluous attempts at humour in future posts!

As an independent musician, I for one welcome our AI overlords. They should not be worried about any technology that needs a human to make it remotely interesting.

They should not be worried if they aren't generic sounding independent musicians already.

Lastly, and a historical case in point, this whole conversation is a repetition of the anti-Sampler movement of the 80s and 90s. Look what that techno-leap brought us.

A new technology brings new sounds, if we all stopped treating a megalithic search engine as a personality, we'll move forwards with a lot less drama.

I would counter that by saying Daphne Oram was the GOD mother of everything, and paved the way for Delia and women in general by actually starting the BBC Radiophonic Studio.

Except that generally labels fork out the cost (invest) in their artists releases, good labels do anyway. I'm not convinced a Silicon Valley company with a turnover of $$$Million should be the most recommended option for labels and artists who aren't at superstar status. BC's investment in any artist releasing there is negligible, yet they cream off 15% from everyone for basically that zero investment (servers aside), a killer business plan. If it wasn't for labels searching, investing, risking actually, a hell of a lot of musicians would not be exposed or have the chance to be heard thus far. This shift to a generic form, or marketplace, also helps removes any choice of personal curation, of which good labels and shops build their reputation on, and in my experience is invaluable. Though as a listener if you prefer being spoon fed by an algorithm, and as an artist being lost on a supermarket shelf, then go for it. Though BC very kindly offer the odd days off from their %, because most of us lowly non-superstar artists have just lost our main source of income with CVD-19 dismantling the infrastructure. The odd day off, yeah thanks. Egalitarian? maybe, zero investment and pure profit? Definitely. That smacks of other online monopolies to me.

This. It is known as acquiring taste, and mostly takes time and effort/research. I would also add that 'any' music you haven't heard before is new music, it doesn't have to be freshly minted to be new or relevant. As someone be mentioned above about the Italian 60'/70s scene it was a hotbed of creativity that's still being discovered/unearthed today, I've spent years digging through certain areas of music and still get surprised decades down the line.

Must mention DBX and Anthony 'Shake' Shakir too, essential! (Detroit techno on HN! Very Alvin Toffler:D)).

Just on the off-chance my long search for the right mixer helps anyone else: I own the Formula One FF-4000, which can be switched from fader to rotary by just a few screws and then swapping the board. (Provided you bought the optional board). (1)

The sound is beautiful, the EQ/Filter is extremely smooth, though some prefer more bite to their EQ's (a la Technics SH-EX1200), this EQ is quite transparent. The build quality is high and solid, the pots feel weighty in a good way, plus I find the FX routing to be intuitive and flexible (which is one of my bugbears about DJ mixers). Yeah OK, they're not as cool as the DJM-400;) but for my setup it's a joy to work with. They build to order, so it can be a few weeks wait, well it was for me. Luckily I live close by their workshop and got chance to go in to check on the build. Oh, they also make a 6 channel version too.

(1) https://www.funktion-one.com/products/ff4000-dj-mixer/