Type : Free online compilation
Available : Digital download
Project coordination : n3wjack
Mastering : Kevin Ferguson
Artwork & cover art : Grimly
Release date : June 29, 2008
Influences
Main influences : Studio One, Channel One, Xterminator Productions, Digital B., Penthouse Records, Star Trail Records.
Other reggae imprints such as Treasure Isle, Attack, Jackpot, TR Groovemaster, Phase One, Hitbound, Volcano, Jammy's, Black Scorpio, Firehouse, Taurus, Digikal, Kangal, Music Works, Fashion Records (UK), Taxi Records, Roof International, X-Rated, Madhouse, Shocking Vibes, Kariang, Kings Of Kings, Fateyes, Harmony House, Stingray (UK)...
Sounds Like
Crisp dancehall productions blending a traditional roots approach with the digital edge of modern dancehall.
Well not really but his music sure does give you a warm buzz inside, no pun intended. Sometimes browsing the charts at Buzzmusic can be tiresome and disappointing. I don't think I have to tell you about how varied the skill and talent level can be. When Nephtali pops on to the charts I know I'm in for a treat. He has consistently released some top notch Electronic Reggae. For those that play guitar, his tracks make great practice sessions to practice your chops with.” (review by Zaphoid, published at Buzz Music Review (BMR) on May the 20, 2007).
So does Nephtali, the riddim maker and music producer behind Digital Works,
a 2002-created reggae/dancehall netlabel based in Paris (France). Originally an imprint aiming at releasing music on physical support (as opposed to digital releases), Digital Works Records turned into an online label by the end of 2006, when the crisis in the recording industry and the tremendous development of the world wide web made it obvious that the possibilities offered by the Internet network were paving the way for a new way to promote and distribute music apart from traditional distributors or major companies. Since then, the netlabel has been releasing its productions on various music services without seeking hype but with an uncompromised quality. This has proved to be a good strategy since our releases have being doing well so far and yet there is still a lot more to come.
..: Music, production and distribution :..
The biggest issue with music production nowadays is no more the process of production in itself but rather the huge cost of distribution. That isn't to say that production is easy but you can always save money on the production side of music business. Nobody forces you to book the best recording studio nor to employ the best musicians and recording and mixing engineers. Conversely, distribution has a non-reducible cost. It's an all or nothing thing. The difficulty to get a distribution deal and to self-distribute your records are what makes the music unavailable for consumers to purchase. The music does exist, but if it isn’t distributed, nobody will ever hear it. Yet, the new possibilities offered by the Internet enable us to bypass the traditional distribution process, hence reducing the cost of distribution to almost nothing. This is why Digital Works made the decision to release as much as possible all its productions on the web and to make them freely available in streaming mode for your (hopefully) listening pleasure.
..: Digital Works in a few words :..
Digital Works are Nephtali/Liftane, riddim maker and music producer, and executive producer Tapper Zak,
who also works as technical operator to maintain the Digital Works home studio. We occasionally collaborate with other people, especially vocal artists, musicians and producers.
Since 2002, Digital Works has been quietly and relentlessly building crisp reggae riddims that blend a traditional roots approach with the digital and experimental edge of today’s dancehall. In other words, we work hard to achieve a synthesis of pre- and post-Sleng Teng attitudes. We try to get a sound that you could easily recognize as Jamaican-influenced while showcasing an innovative and experimental edge. For this, we follow the traditional Jamaican way of producing music, especially by promoting the notion of riddim (a rhythm pattern consisting basically of a drum pattern and a bassline which is generally used as background track for several songs). However, we try to get rid of the sometimes too much factory-like dimension of the reggae industry by pushing a more artistic and less-quantitative approach. Thus, Digital Works aims at producing riddims that have some musical appeal and significance instead of being strictly sound-system-oriented.
..: The production process :..
The production process can be broken down into three main steps, as follows :
* Composition
* Arrangements
o Improving the song's build-up and overall framework
o The choice of tones & synthesizers programming
* Mixing work
o A decent mix by avoiding overlapping frequencies
o A spectacular mix in which the stereo image is widened and all the elements come out clearly
We make some efforts on the composition work by using most of the time atonal counterpointed frameworks, on arrangements by selecting original tones and colors and on the mixing work to make out everything clearly. We try to find the middle-way between a high quality sound and some experiments and innovations Jamaican music is particularly known for. Main influences include innovative Jamaican labels such as Studio One and Treasure Isle for the sixties, Channel One and Joe Gibbs for the seventies, Jammy’s and Music Works
for the eighties and Xterminator and Penthouse for the mid-to-late nineties, just to name a few.
The name refers to our digitalist approach. Indeed, an overwhelming majority of our productions are the result of intensive use of digital keyboards, analog-sounding digital synthesizers and digital drum-machines, although we are also keen on using software emulations of hardware stuff, as with the Jeskola Buzz tracker software.
However most of our productions also include live instruments such as clarinet, melodica, brass section or piano.
..: What about you ? :..
In the future, Digital Works intends to supply riddims for vocals artists as well as other entities through a very flexible purchasing and order system - ranging from free to cheap - that will fit to your budget and requirements and the purpose for which you wish to use them (commercial release, promotional use, demo use, collaboration tracks, remixes, open-source audio...) and on various supports (LPs/CDs/EPs, 7''/12'', mixtapes/street-CDs, duplates...).
Learn more about the terms and conditions of use here and feel free to drop us a mail or a MySpace message if you happened to be interested.
Keep in mind that we are strong believers in music and art collaboration, meaning that we are very lenient when it comes to setting terms and conditions of use.
Type : Free online compilation Available : Streaming mode + digital download Project coordination : n3wjack Mastering : Kevin Ferguson Artwork : Grimly Release date : June 29, 2008
60 minutes, (almost) 60 artists, 60 songs, each 60 seconds in duration, all mixed together without pause in a 60-minute journey of uplifting Buzz goodness.
The artists and music producers participating in this compilation are all members of the Buzz scene and its various communities, such as the BuzzMusic netlabel (former Wipe Records), BuzzMachines and the BuzzChurch where it all began.
A 24 minutes bonus compilation has been added for a limited time, containing a few extra tracks by artists having already submitted a track for the official compilation.
Thank you so much for being our friend! You have a very cool page here. Let's stay connected.Take care and have a nice day! Cheers....................................
Blessed love family!!! Just passing fe send some rootsvibes pan your page Stay bless .. Interview Anthony John envoyé par MilitantVibes.. Contact management(show,prod,dubplate...) sistaedmee@yahoo.fr 0662183356 Anthony John is in France
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