What gives the housey feeling?

[S.D.L]

now, so its not so expensive to make music. You just need a computer. Its more public, everyone can touch it. love it

You should read this.

Again, again and again

The other problem is that dance music has become a tool for career enhancement rather than an end unto itself. Young kids get all the tools for free these days and free access to digital distribution and you get a lot of hollow cookie cutter music made by people trying to "make it."

The sad truth about producing is that unless you are extremely gifted, you are going to suck at it for years, be competent and generic for years and then as you get older and get some life under your belt you finally get to the point where the music just becomes a language you speak and you are finally able to express yourself as an individual.

It takes years and years and there is no material or social reward for it. The only reward is seeing this manifest itself over the course of years. You might get lucky and get to be a Theo Parrish or a Moodyman but there are 50 other talented people in Detroit for every one of them. The only way you can get there is if you do it for yourself and the love of the craft. You can't really explain to outsiders what it is that you do. People don't respect proper musicians much less what we do. How do you explain that you put sounds and rhythms on these little vinyl disks and send them around the world? You say dance music in the States and they think you are something like Aqua.

If you set out to play an instrument you are accepting that you are starting a life long journey. The reward is the journey itself. The reward of feeling discipline, accuracy, discovery, and control. We don't have this with dance music. Most people are just trying to grab some cheap software and fling some sh!t out there for a better profile or more bookings. It is about status, money and bookings. This really effects the quality of the music and the scene itself.

[steevio]

The other problem is that dance music has become a tool for career enhancement rather than an end unto itself. Young kids get all the tools for free these days and free access to digital distribution and you get a lot of hollow cookie cutter music made by people trying to "make it."

The sad truth about producing is that unless you are extremely gifted, you are going to suck at it for years, be competent and generic for years and then as you get older and get some life under your belt you finally get to the point where the music just becomes a language you speak and you are finally able to express yourself as an individual.

It takes years and years and there is no material or social reward for it. The only reward is seeing this manifest itself over the course of years. You might get lucky and get to be a Theo Parrish or a Moodyman but there are 50 other talented people in Detroit for every one of them. The only way you can get there is if you do it for yourself and the love of the craft. You can't really explain to outsiders what it is that you do. People don't respect proper musicians much less what we do. How do you explain that you put sounds and rhythms on these little vinyl disks and send them around the world? You say dance music in the States and they think you are something like Aqua.

If you set out to play an instrument you are accepting that you are starting a life long journey. The reward is the journey itself. The reward of feeling discipline, accuracy, discovery, and control. We don't have this with dance music. Most people are just trying to grab some cheap software and fling some sh!t out there for a better profile or more bookings. It is about status, money and bookings. This really effects the quality of the music and the scene itself.

It is sad because that external sh!t is so empty. The real reward is the music itself. I sell records, get write ups in Groove/RA, get name chart support and all the other stuff, but it really doesn't compare to the joy of seeing my understanding of music grow. I don't mention that stuff to brag, I am just saying it to make it clear that I am not some hater sitting in a basement. I am out there making it happen.

btw well said bro. true wisdom

[::BLM::]

Yep that post is spot on.

It's so strange because I had a conversation with my mate today and we talked about what you just wrote.

I don’t know about anyone else, but I have given up so much for music. This is my way of life and I love it to bits. I just don’t see the passion in a lot of producers today. There is so much switching of sounds as the trends move it’s just really confusing.

I'm really looking forward to being like 40 and making music. I know by then I’ll have enough life experience to just sit down and make some really deep sh!t.

[coldfuture]

I too think that post is right on.

I have recently decided all over again (I do this periodically) to make sure my brain is free from all the hype that is constantly being pushed at us.

It seems the scene/press are obsessed with helping homogenize music further. I want no part of it whatsoever.

I plan to make music all my life, if God will allow it and I can keep my hearing intact. I recently realized that viewed from that perspective, it makes being original and true to myself all the more important.

I am the only me there ever will be, and I don't want to spend my time chasing the carrot like a donkey. I see so many people doing that, and hear so much music that is just flat. It is devoid of emotion because its purely functional, and even that aspect of it is intellectualized and anticipatory... for ex: put the build here, put the break there so the people will go nuts.

I love, love, love to dance. I am Puertorican, its what we do from birth... but I also want to create something that is deep and meaningful. Head and heart music, straight from my own brain and my own heart is what I set out to do. I will not waste my life making beatport fodder. It seems like the most miserable, regrettable use of what little talent I might have possible.

Thanks to Martian Telecom and Steevio for the last few posts on here.

You guys have reminded me (today as I wrote this totally obtuse, polyrhythmic acid track that most likely no one will sign) to be confident in what I am doing.

I love techno. I won't be one who shits on her as this whole scene goes through its leather pants and hairdos glam nonsense.

[NewSc2]

Yeah great post Martial Telecom.

Sometimes I walk into an old dusty bar/jazz club and see an old black man (not being racist, it's usually an old black man) playing a saxophone or guitar on the side, usually with some appreciation from the patrons.

These guys with 40-50 years experience in them have finally mastered the craft and weathered the storms and stuck with it all (with no fame) and play some awesome awesome amazing stuff -- soulful, vivid, great melodies, never overly sappy, never overly boring. God willing, I'll be 60 years old and still jamming on synths and sequencers.

The few conversations I've had with these musicians, old enough to be my grandfather, are usually brief and surprisingly plain. We'll sometimes chat a little bit about my struggles or technique. They'll offer some suggestions, but nothing profound, and their last bit advice is almost always, "good luck, keep goin' at it son."

[Torque]

The only problem with your advice Steevio is that all the OG house and techno guys were making their records in professional studio up until the early 90's. All of the old Detroit and Chicago cats had access to professional engineers when they made their records.

I don't know where you heard that from but almost nobody even back in the day had money to hire an engineer or rent studio time, at least not in Detroit. The only ones that had money for that stuff was the New York guys.

What house and techno really need are more musicians and less "producers." You walk down the street and trip over a dozen of these producers, but you can't find the real musicians and song writers to save your life. Dance music doesn't need more weird noises or immaculately sculpted kicks, it needs some first rate tunes. People don't respond to Goodlife or Shades Of Jae because of the engineering, those tracks blow up dance floors because they are great tunes with great hooks.

I agree 100%.
One of the reasons i liked what i heard in techno in the first place is because there was stuff going on in it that i couldn't play on the guitar and i can play a guitar pretty good. There are a few non musicians that can pull off consistently making great records but the most consistent people i see come from a musicians background.

[hydrogen]

great one martian!

[Martian Telecom]

silence.