@Gearbox
To say something positive about the 'creativity/dancefloor effect > production quality' thing, personally I really like tracks from newcomers who aren't 'there yet' quality-wise because good atmospheres and creative structures are more important than production quality. It's hard to explain, because I obviously prefer
both quality and creativity at the same time.. but a lot of times, high-quality tracks by established artists feel a bit empty to me. Newcomers often 'dare' to do more creative things because the 'good quality but boring atmosphere virus' hasn't affected them yet. This makes it easy for me to put the quality expectations aside, because the creativity, weird kicks, unique samples easily make up for it. Both quality + creativity is an ideal situation, but it doesn't happen that often imo. So if I had to make the choice, I'd much rather have a completely crazy, energetic Rooler track with a bit less emphasis on production quality, than another stale, empty NC track with perfect crisp sounddesign. Because feelz & drive > quality in the end.
Of course this doesn't mean quality doesn't matter. There's still a limit imo, if something sounds like a super amateur production, then nah. But some production quality being sacrificed with more energy, nothing against that.
There are a lot of newcomers around that have a creative mind, good ideas, but just don't have perfect technical skills yet, and because of that the big labels don't want them because it sounds too amateurish. And I like the fact that Gearbox picks those kinda guys up and allows them to grow. Honestly, I think a creative person with unique ideas, good on-stage skills and good social media skills (but a bit less technical skill) has a lot more chance to build a stable career than someone who is technically gifted but introvert and not a 'real DJ' who doesn't know what the crowd wants to hear, resulting in boring tracks and not being booked a lot. So +1 to you guys for 'spotting artists'.
I do have a question about this tho, knowing you guys put less emphasis on production quality etc.. so what's the limit? I often hear the 'if you really want to make it to a big label, be prepared to spend 3-5 years perfecting your sound to be good enough to have a chance' argument. How about Gearbox? For example, are there guys on your label who got signed after only 1 year of producing because they just had good creative ideas? Or do you still use some kind of 'quality meter'? 2 years maybe? I'm just curious
Geplaatst op 22 aug 2019 15:15 
! Looking forward to part three of the documentary , and even more to the party itself 
. Sure, things that Luminite said where out of place, and the thera thing was a bit iffy but I like the honesty in the documentary.
