Spin Doctor

Parti Citron

I seem to remember a while back the director of Radio 1 (or perhaps the BBC) saying that the archives were to be made available to all. Does any one else remember this? It seems a bit unfair that we don't have access really. While I understand there is literally millions of hours of audio that would need to be digitized, and a massive headache to decide what gets done in what order there does seem to be some legitimacy behind a claim that I have some basic rights of access as a paying license holding citizen.

I am intrigued to know Number_2's secret identity! I think I have an idea but I'm not 100%. You said you knew me from the JJ board in the other thread. Ha ha. I haven't spoken to anyone from ther in ages, seems like a lifetime ago that I used to frequent those parts.

Exactly the same here. Nice bunch of folks and plenty of info about that cracking few years Jules had. Gooe enough reason as any to stay. I din't say anything about not loving the judge! It's just the music he used to play and plays now aren't the same, and I've developed slightly different tastes.

Guilty as charged guv! Musically I've moved on quite a bit since those days, though you probably wouldn't guess it from the tunes in my sig right now, ha ha! I'd say I'm not quite as nieve in my outlook on things either. The benefits of a few years age, wisdom and playing out change your perspective quite a bit.

I always aim to please.

From BBC News Magazine today: http://news.bbc.co.uk/1/hi/magazine/7671677.stm.

It was called the Mega CD. Never had one, though I did play Sonic on it. That was by far the best of the 16-bit Sonic games. Going back and forward in time? Very impressive. Mega CD was a bit of a flop though as the CD just added a larger memory from which to store game data, but the CPU still couldn't handle much more. On the whole I think the 32X made the better use of the system. Doom wasn't all that bad on the console.

There are rumours that the Playstation was set to be that addon to the SNES. Sony and Nintendo were apparently in talks at the time and schematics were being designed until things broke down and Sony decided to go it alone. There could be some credence behind these claims, the SNES controller and the original PS controller are very similar, not to mention that the video outputs are similar too.

I have to say I think you've made a bit of an error by using the terms orthodox and unorthodox here. Unorthodox implies less frequent, less popular. I'd say that of all DJs in existence you'd probably get a more or less equal split between the two styles; those who mix and match and those who stick to one sound. If anything of all the DJs that regularly play out then they'd probably be more who are classed as unorthodox, since there are more DJs who have to cater for wide tastes and jump around than those who are purists. If then we're only talking about the big DJs in this discussion then your categories stand. The 'top' jocks will have a style associated with them, both out of musical preferences and conscious branding. I think this is unavoidable. Like fuzzy said, when you go to see a DJ you want to see them for the sort of music they're associated with, not a random stream of tunes. Plus they need something which can be associated with them to build an identity. In reality I think the optimal choice is to be somewhere in the middle, where you have freedom to play what it is you like, how you like and when you like, but still after this be able to draw a thread of consistency and reason through all that ground you've traveled at the end of the set. This is difficult but also rewarding. For what it's worth, playing in I'm orthodox...sort of. I'll play a set of whichever style one day then move to another the next, or blend between two if it will work. Playing out depends but for the most part I'm unorthodox and will play varied and interesting music. Then again there are always strands of consistency and it will be relative to the crowd, who's on next, what sort of night etc. Even for a cheesy gig I'll never play a tune I actually don't like, and always feel I can create a sound which is representative of that facet of my tastes. My most successful and interesting sets were at a night which I co-promoted while at university. Called Shuffle, the 'sound' was simply good music and we used to DJ back to back in three tune set pieces where we'd take it in turns to explore a genre. By the end of the night we'd been though punk, house, indie, ska, goth, pop, electro etc. etc. Unorthodox but we still managed to get the dancefloor moving.

Exactly, the SNES was by far the more technically advance of the two. One thing the comparison overlooks is the sound processing. The SNES used to recreate real reverb on the sounds, particularly used in the Mario games. As for the vote, mine goes to the CPC. I still own, and use, one. I use it as a simple audio synthesizer to add some 8bit to my productions. Edit: Interesting fact, both the SNES and Megadrive had online services in Japan. We had to wait till the PS2 to get anywhere near that!

ha ha! Pretty much true though. Of all those that have a read of his book, I very much doubt many will have much the sucess that he did.

Synchronised tombstoning.

Not sure if you've already done this under the 'online advertising' rubric, but Don't Stay In is always worth a push.

In my view, we shouldn't have too much to worry about here. Firstly, a good 95% (at a conservative estimate!) of the music on offer here is ripped from radio broadcasts which we could have quite easily recorded at home for our own use. Most of these are from the BBC. Most of these are old. Most of us have already paid our licence fee so have injected money back into the music industry through broadcast licences. My point is, BBC Judge Jules sets from the late-90's to mid 2000's doesn't equate to a dent in Universal Music/EMI/Virgin's bank balances because we're not sharing the latest bands or CD rips. Secondly, the main focus of this site is archival, not file sharing. It's stated aims are to document and record. Most of the content of the site is track listings and discussion, not freebie music. And once again, we're not file sharing willy nilly. It's done with purpose to a specific aim. While I suppose it is technically illegal in the fullest understanding of the relevant laws, I highly doubt it would be prosecuted, and if it was I doubt it would be successful given the stated aims and nature of the rest of the site. Radio sets, while illegal, essentially aren't what these companies are after. It's chart material getting shared.

Just listened to the first part of of the download now. Superb. Some of the things that were mentioned about DJing really resonated. Anyone who's played records in front of people with any thought what so ever has to feel some sort of affinity with those comments.

Mate, just jump in head first. Your computer isn't going to bite you if you do something wrong! Just load up Reason, create a new Subtractor, load up a patch and play with the settings. If you've got a sound you like, save the patch and move on. When you get a bit more confident look at the manual and have a look at how the soft-synth is designed, that'll give you clues where to move if you want to create a specific sound and learn how everything work. Subtractor is a fairly straightforward unit to play with anyway so you shouldn't get too lost.

I cannot believe anyone has mentioned Tallulah does the hula for Hawaii! http://news.bbc.co.uk/1/hi/world/asia-pacific/7522952.stm

It all depends on what you mean exactly by samples. If you're talking synth lines/stabs etc, producers get thier samples from the sound engineers who churn them out of synths. Others get their hands dirty a bit and and tinker with synths themselves. Others still are either ex-sound engineers (Dave Clarke, Paul Glazby, BK for example) so can do the entire process themselves. As for getting hold of them yourself, you can pay for sample CDs. Now, with the digital age you can also pay for downloads too. Track it down do loads and there used to be a fair few on Juno too. Personally though, I feel getting premade samples isn't the right way to go about things and completely disagree with your second paragraph. I like to play with soft-synths myself, and part of the enjoyment of the whole production process is this discovery and creation of leaning a new synth and trying to get good, high quality and inventive sounds out of it. I do collect samples but this is in the terms of sound effects from sources like games and films. The only premade sample packs I have are of drum machines.

They've been put up in the archive in the main site. http://www.judgejulesarchive.co.uk/archive...gazine-articles

Good to see these being well received. Collecting cutouts of print media was all part of my hero worship obsession back in the late 90's early 2000's. I'm certain I have some more somewhere, including a nice five minute interview from the Independent but I can't find them for the life of me. They're probably with that stackload of jules tapes I have some the same time. As soon as they are located they will be upped I can assure you of that.

All the above listed records are now listed on Discogs market place. Most of them are going very cheap with lots of £1 vinyl. All items can have an offer made on them. Please check out the link below for more information. Discogs Marketplace Vinyl Sale