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If you follow Shadetek’s blog you know we have been thinking alot about digital marketing, how to monetize content, and keep making the music that we love. It has been a busy winter for DA, we linked with Leeor from Friends of Friends PR to help amplify and sharpen our message, Jace and I started to engineer Beyond Digital, a non-profit that funds international arts residencies and interventions, we joined forces with Emeka Alams from Gold Cost for a capsule line (and that’s just a taste of the plans that are not TOP SECRET, SECRET OR CONFIDENTIAL). Just to keep things hectic I moved to Kingston, AKA HUSTLE UNIVERSITY, where even the kid that opens the gate is just waiting to play you his newest riddims off a usbstick. MOVE QUICKLY AND GET WEIRD. Mine deep for the magic cambio strategy that converts cultural capital to liquid capital fast enough to keep us all eating.
[youtube]http://www.youtube.com/watch?v=JUs7iG1mNjI[/youtube]

With that in mind, I reached out in December to Stephanie Brown about an interview. She’s a Digital Marketing Manager for a major label in Canada. I wanted to know more about what exactly her job entailed- and what bets the people with the money and infrastructure are making on how to sell content. #realtalk bizness

T: As a Digital Marketing Manager for a major Label in Canada, what exactly are you responsible for?

S: I direct strategy for marketing our artists online in Canada. When we have an album coming out, marketing managers will meet with me to discuss what sort of promotional support we can give the release online, and where to best spend their ad dollars. The idea is to create awareness and hype about the artist by placing content on the entertainment and music sites that will get the greatest visibility in Canada. So, when the album finally drops, audiences will recognize the artist and hopefully be inclined to buy the album. I manage relationships with a number of partner sites who use our content from our artists (electronic press kits, interviews, etc) to support their editorial coverage, which is really a win-win situation. Additionally, I plan social media promos & contests, aid with online ad buys, and oversee our direct-to-consumer marketing channels.

T: Social media seems to be most powerful when an artist is directly communicating with fans- but obviously most big label social media is not being generated directly by the artist – who actually is sitting on the computer updating each artists facebook, myspace, etc- do you guys have back end access that streamlines all of this stuff?

S: We monitor our artist’s social media platforms in terms of numbers, just to see who’s gaining momentum. But aside from that, artist management is typically responsible for updating those properties. We offer suggestions, but the decision lies ultimately in the hands of management. For some of our domestic artists, we’ll post news and happenings on their Facebook and Twitter pages if we’re requested to do so. We’re always transparent about it, so we sign off on our posts as “Team” whoever. Many artists actually do post themselves, or work closely with their managers to establish their digital identity.

T: How is the balance understood between digital and more traditional marketing? Are marketing plans all done holistically or is digital and traditional really heavily divided?

S: The digital element of marketing plans is undoubtedly an important facet, but it is typically independent from television, print and radio. It’s always a point of reference, because we want to ensure that the messaging is cohesive across all mediums, but it’s still its own world. However, if we wanted to run an online promo on a large scale, we’d be sure to support it with traditional marketing. Those promos are typically those with a big budget and a kickass prize-like a meet and greet with an A-list artist in Australia, for example. The submissions would be collected and shared online, but we’d use print, radio, and TV to direct people to the contest website. Otherwise, a portion of the total marketing budget will simply be allotted to online, and then it’s up to me and the digital team to direct where to best spend it.
(more…)

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cross-posted to Mudd Up!

Check the latest issue of BOMB magazine for an in-depth interview with Kevin Martin AKA The Bug. BOMB has just upped an excerpt & audio clip. Here’s an excerpt of the excerpt:

Jace Clayton: You told me this anecdote: you were at a dub night in London; it was lit by one lightbulb. That’s how I remember you describing it—

The Bug: Oh, yeah. That was again a very pivotal moment for me. Just after I moved to London I went to see Iration Steppas and The Disciples do a “sound clash” together. I didn’t know what the hell to expect. It was at a warehouse in the East End. Literally, there was a sound system on either side of a quite small room with a lightbulb hanging above each, no stage, the audience trapped in the middle, and this head-shredding volume and over-the-top psychedelia. Every mix that each producer was playing would get more and more out-there. At first you would think, Oh, this is a nice reggae tune, and by the end you’d be thinking, Holy shit, this is electro-acoustic madness! People were looking stoned, shell-shocked, or both by what was hitting them. (laughter) It almost altered my internal DNA and how I appreciated music. Before I moved to London, I’d seen a very early Swans show and had realized just how much I loved physical impact in sound.


Photo by Niall O’Brien. Courtesy of Ninja Tune.

JC Funny, every time we’ve played together I’ve always tried to leave the building when you were sound checking. It’s massive volume and you take it so seriously; oftentimes if the sound guy is not up to speed, you’ll let him have it. Can you talk about the importance of getting the sound you want in a live situation?

TB Boy, I guess I’ve got a bad reputation for being a bit finicky and demanding. Once you’ve had the experience of what music can be like, if you are a perfectionist and obsessive (like I realize I’ve become), you don’t want to compromise. I don’t follow the idea of making any type of compromise in my life, and definitely not in my music: music is my life. If you’re happy to shut up and let someone water down what you want, then you really shouldn’t be making music. It’s not important enough to you, you know? I believe in a hard-core mentality. Any art should be a pure reflection of the intention of the person making it, and any degree of compromise along the way is just going to lessen the impact of what that person is trying to do. As far as I’m concerned, the physicality of sound is crucial; it takes you beyond intellectual discourse, to very primal, psychological confrontations. I like what it can do to you: it can be seductive, it can be sexy, it can be aggressive, it can fuck you up, it can flatten you, it can wake you up. Intense musical experiences have changed how I live my life, full stop. To some people this may sound a bit over-the-top. My passion is music, and that is reflected in how I approach the live arena. Now, increasingly, when record sales are shrinking, it’s important to leave a statement, to walk away having done something memorable. Volume in itself isn’t memorable; anyone can turn the volume up to 12 and crush someone with it. That’s not impressive. It’s the constructions within the music that are important.

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This week Google unveiled Ngrams, “a mammoth database culled from nearly 5.2 million digitized books available to the public for free downloads and online searches, opening a new landscape of possibilities for research and education in the humanities.” Which is the long view writ large.

Here in Brooklyn, Tahir Hemphill is cooking up something much more immediate.

wordcount

Tahir & I were resident artists at Eyebeam together, where he began constructing Hip-Hop Word Count, a crazily smart rap-lyric-geomapping datacrunch project which lets you do stuff like, say, locate the first mention of ‘champagne’ and watch it migrate across the boroughs and peak across the years. Tahir’s doing a Kickstarter to continue developing the “searchable ethnographic database built from the lyrics of over 40,000 Hip-Hop songs from 1979 to present day.”

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So there’s another entry to add to the post-Screw canon: Expressway Yo-Yo Dietin. And, despite his wildly different sound (which sets him apart from the more accessible witch-house/drag scene and closer to the toxic sound of Houston’s small but sturdy noise scene), the methodology isn’t the wildest departure from DJ Screw’s lazy foray into the avant-garde. I may be wrong here but, advanced digital fuckery and ripped rap vocals aside, the thread that holds Expressway Yo-Yo Dietin’s Bubblethug together seems to be a simple delay. It actually sounds quite a bit like the default setting on Ableton’s Simple Delay effect, a nifty trick that gives rhythmic ‘umph’ to a lot of the weird excursions into various noise and drone territories that you’ll find on the album. So the results end up sounding like a Boredoms, Screw, Vibracathedral Orchestra and Sunroof! fan ingesting something nasty with 12 other people in an empty building of the warehouse district of your nearest industrial graveyard. The following track is my personal favorite, a dark dirge with nearly intelligible vocals that gains power from the track sequencing when listened to as part of the album’s messy whole.

[audio:http://nyc.duttyartz.com/mp3s/05 Bubblethug 5.mp3]
Expressway Yo Yo Dietin’ – Bubblethug 5

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We need to organize and half Wikileaks like we are halping TPB.

A botnet is nothing more than thousands and thousands of networked computers following the instructions of a single remote authority. The machines tend to be running Windows and, conventionally, their owners are unaware that they are involved. During a Distributed Denial-of-Service (DDoS) attack, each computer in the botnet repeatedly performs a simple task like pinging a web server somewhere else on the net.

Given a sufficiently large botnet, the server is so overwhelmed that no one can access any of the websites that it hosts.

join the botnet?

As far as I can tell, botnet participants usually join up accidently while flailing around in search of pr0n (or buying a computer in China.) During today’s DDoS attacks on Visa and Mastercard, however, it looks like a significant number of people voluntarily added their machines to the botnet.

Outrage through outtage? This-what-democracy-looks-like.com?

Profit

Barlow says “we’re all footsoldiers in this war” but we should resist war-like metaphors. Anons are not risking their lives when they “get behind the proxy” and join the DDoS attack on Visa. It’s a trap: no one but the U.S. government ever wins a War on Whatever.

This is about the failure of private institutions to steward our popular culture. But what makes us think they would? Will Soundcloud take down Assange’s old dubstep mixes?

We really need an anthem, Dutty Artz! What’s the sound of a volunteer botnet?

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Whenever I land in a new city, I go into town with three intentions.

*Find out if there is a really old and amazing music from the region.

*Find out what the locals are listening to at the pubs and clubs so I have an idea what my set should be like.

*Find something really new listen to.

Language barriers usually don’t usually impede this. You might go in with an idea of what you’re looking for but the skilled know not to expect anything. Just find something amazing.

Walk the streets with eyes and ears peeled. Somewhere some 14 year old kid that cut class today, came home early and is blasting a local mixtape so loud the whole neighborhood can hear it. On the metro, someone is rockin out their mp3 player so loud you can hear their headphones above the racket of the moving train. A restaurant owner from a foreign country is simultaneously playing the most amazing CD of music from his country to make his establishment feel like home. Music is everywhere and when its good, its usually loud.

I was walking around Oberkampf in Paris with Marie Maurin from Jacasseries Radio an area where a lot of the college kids go to get wasted for cheap and we ended up checking out a bar called International. We were just walking over to see what was playing because there’s always some live act going on in there but what we found heard from outside was amazing.  I’m talkin Konono no. 1 on acid.

The street outside was mobbed with with smokers. Gotta love that you can walk out the bar with your beer there. We pushed through the crowd to get closer to the music. I spent the next couple minutes trying to figure out if what was on the projection screen of the crowd downstairs was really happening or if it was a tape. There was a bearded man in a faded santa suit throwing popcorn at the crowd dancing downstairs. When I realized it was real time I told my friend I needed to push through and check out the basement.

Congopunq as a duo are a fairly odd pair of dudes to behold. Dr Kong is a towering 6’2 dude jumping up and down and pulling all manor of tricks out his suitcase. He is happy to make you crepes on stage or bang a kettle with a broomstick or stare at one person menacingly for the duration of a song. His performance interacts with the crowd and makes the show more participatory something I’ve been looking for in new acts to book.

Percussionist Cyril Atef performs in a custom made jock strap and sits behind the oddest drum kit I’ve ever seen assembled. A djimbe for a kick drum, a random collection of random shakers and percussive instruments gathered from around the globe all microphoned through a sample station to loop and stack beats. There is a roland or korg synth which also ran through the loop station and probably a couple pots and pans. He’ll stack a few loops to the beat add a synth line then proceed to rock out the amplified thumb piano for 15 minute jam sessions of improvised dancefloor mayhem.

This is them performing live in Haiti. Watch how the crowd goes from chanting for the local dancer Chi Chi Man to going totally mental for Congopunq’s jump up carnival vibes.

[youtube]http://www.youtube.com/watch?v=JEB_UBJOtfQ[/youtube]

Cyril, is the long-time percussionist for Mathieu Chedid (french megastar with the oddest haircut in the biz) and he’s also founded another project called Bumcello. He has been living in France for some 20 years now. I  sat down with him to talk about the new project at his apartment and from what I can tell he’s completely insane in the healthiest sense of the word.  Here’s the video for their single from the Candy Goodness album released on Crammed Discs. This guy should be rocking at tropical parties around the globe right now and no one seems to know about him. Promoters and Booking Agents… get on your P’s and Qs and BBM’s and twitter… I’ll be playing with him tonight at the same bar I met him at International 5/7 Rue Moret. Planning on bringing him to NYC soon so please hit me up if you wanna host them at your parties.

[youtube]http://www.youtube.com/watch?v=HBXVf2XXS70[/youtube]0

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We are all curators and everyone gets to hang/post their 15 pieces. Interviewing Leeor Brown last week about his insider take on the world of P(A&)R we talked about how to tell stories through and across digital networks (HIS TELL ALL INTERVIEW IE #REALTALK VOL.! IS COM1NG NEXT WEEK). In a media environment where the biggest players are only a few re-tweets away we still actively police our digital social life with decorum held over from meat-space. Getting someones email address might be easy- but sending a message and opening dialogue are not the same thing. How many release announcements fall on deaf gmail accounts? I remember reading a few years ago that on A Small World (ie facebook for rich people) a user was banned for friend requesting Paris Hilton because he didn’t have a legitimate claim to be a part of her social network. Annoying promo emails don’t usually provoke active shunning, they just got ignored. It was refreshing yesterday, then, to see tucked away alongside “Artists On Tour! Interviews, guest list and more available!” and “What is a Pixelated Lazer Face Bass Monster?” a really honest no BS hyperbole promo email of sorts. It read:
“Greetings and much respect…thought you folks (certainly DJ/Rupture) would get a kick out of this recent essay: http://bit.ly/aRU34F
Keep up the fabulous work,
LC-S”
I AM VERY HAPPY I CLICKED THIS LINK. READ A SHORT EXCERPT ON THIS AMAZING ESSAY BELLOW AND THE REST HERE.

KOFI CAN HAZ SCAM

<EXCERPT>
“…my people simply told him to call me home with the power of his ‘Invisible Missive Magnetic Juju’ which could bring a lost person back to home from an unknown place, how far it may be, with or without the will of the lost person. So having paid him his workmanship in advance, then he started to send the juju to me at night which was changing my mind or thought every time to go home.”
-Amos Tutuola, My Life in the Bush of Ghosts

I

Many markets in Nigeria have areas called “computer village,” especially in places ranging from Alaba in Lagos on the West coast to Port Harcourt in the oil-ravaged Southern Delta, and over to the famous one in Onitsha in the East, where almost anything can be gotten—today’s catch from the river Niger, counterfeit medicine, locally made “foreign” goods, even dodgy airplane parts. Look through clouds of red dust for handwritten signs advertising, “computer repair,” “speedy programming” or “internet café.” Watch your step as you avoid scores of motorcycle taxis called Okadas because you could easily knock over a table scattered with the guts of cell phones which for a handful of naira will allow you to contact almost anywhere in the world. Computer village is where the detritus of Western and Eastern digitization either goes to pile up in jagged cathode ray mountains and die, or awaits repurposing in wiry bundles and circuit board batches spread across acres that simply beg for the eye of contemporary photographers like Andreas Gursky or Chris Jordan.

It’s fascinating to imagine how these blank-screened cadaverous wholes and frayed bits and pieces have all gotten here. There’s so much black glass that it is like the landscape of an indecisive volcano. These used computers have been donated by Western charity organizations and faith-based NGOs and given the Nigerian tendency to use things even beyond their given function or recognizability, their presence here is only temporary. A great many were brought from Ghana or up from South Africa while a steady stream arrived from China even before that country began its obsessive courting of West and Central Africa. But the vast majority of these machines, parts and components have been shipped by or brought in by enterprising Nigerians who since the late 1980s have known that what would mark this generation of West Africans more than blight, violence or corruption was a hunger for Web-based connectivity, that narcotic rush of shared information.

With almost no formal education whatsoever, many would learn how to rig, rewire, rebuild and master the essentials of computing in these glorified junkyards. They learned from ragged men with soldering irons in their pockets that pushed wheelbarrows filled with screens, wires and keyboards, with the wild-eyed look of juju men drunk on that vile moonshine called ogogoro.

</EXCERPT>

Louis Chude-Sokei is a professor at the University of Washington in Seattle- which means I used to sit endlessly in the skyspace 5 minutes away from the classrooms where he was obviously dropping serious knowledge. There are many powerful registers that he moves through in this essay- and when it is so easy to find cringe-inducing writing about poor countries- especially where tech and development are concerned- we must recognize the beautiful moment of being alerted to such powerful well written analysis (with bonus points for Tom “OH MY GOD I GET IT” Friedman pop-shots). Here’s hoping that when I write Prof. Chude-Sokei back asking him to contribute to DA he responds.

[youtube]http://www.youtube.com/watch?v=f1nKR3gYRY8[/youtube]

Discussion question: Can we learn from 419 Yahoozzzee boys about telling stories on the internet and building relationships out of digital ether? IE HOW TO MAKE $OLID ALL THAT IS MELTED BITS IN THE CLOUDY AIR . It’s time to start looking at alternative economies and networks and re-purposing/learning from their success. If such limited bandwidth can translate into this much cash and we arnt doing shit with our TI connections then it is time to employ a new model.

[youtube]http://www.youtube.com/watch?v=fzKT9LCBmKw[/youtube]

ADDENDUM. 1. : a thing added : DIRECT FROM THE COMMENTS BELOW AND OUR GENEROUS FRIEND MR CRUCIAL AKA TIMEBLIND IN CASE UR IN A RUSH AND CANT BE BOTHERED TO CLICK TO SEE THE COMMENTS

419 is oldschool. nigerian zombie computers for hire, will swarm for $

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wfmu

Last night’s radio show: Monday October 18th – DAS RACIST All Tan Everything Special. Lots to hear in this one! Heems’ great selection of Desi-related tunes keeps our ears ringing between increasingly funny / muddy / smart talk (race war, equestrian accidents involving Lupe Fiasco, “internet 3.0, you can drink it”, their ongoing Hot97 takeover, the Sleng Teng Wikipedia page and spiritual advisers…) Excuse the few subtle gaps, they were literally filled with sh–, as I edited out Victor’s swears on the fly with the Red Emergency Button. You can now stream the show in its FCC-clean goodness:

Subscribe to the Mudd Up! podcast if you prefer downloadable versions, issued a week after FM broadcast: , Mudd Up! RSS. And don’t forget WFMU’s free iPhone app.

 

tracklist

Sajid Kahn Ha Ram
Charanjit Singh Raga Megh Malhar
Das Racist #realtalk
Popo About A Boy
Das Racist #realtalk
Confusions Voice From The In
Das Racist
Jai Paul BTSTU
Das Racist #realtalk
Das Racist Commercial
Das Racist #realtalk
Das Racist Sit Down Man
Das Racist #realtalk
Shiv Kumar Batalvi Maye Ni Maen
Das Racist #realtalk
Aap Jaisa Koi Meri
Das Racist
Masta Ace Brooklyn Masaala
Koushik Nothing’s The Same

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christine

During the last few weeks, my friends and family have mistaken the work of Christine Abdelnour Sehnaoui for both a broken air conditioner and a car dying outside my window. I can’t say that I blame them. Her recordings call to mind unoiled hinges, deflating balloons, asthma attacks. This Parisian alto-saxophonist, born 31 years ago to Lebanese émigré parents, plays like music does not exist. When she performs live, Sehnaoui clamps her eyes tightly shut – an expression that speaks to the intensity of focus she applies to her challenging and surprisingly diverse oeuvre. . . Sehnaoui comes from a school of improvised music obsessed with the sonic possibilities of things.

My article on Christine Abdelnour Sehnaoui for The National is now online. Ordinarily I harbor a strong dislike for the saxophone. But in Christine’s hands, it is pure weird gold. Continue reading.

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sample-2

THE DUTTY ARTZ GROUP: GUIDLINES TO CONSIDER WHEN TERMINATING A DJ
Soundboy Murderation Part 3

Dutty Artz’s first two articles on termination guidelines can be found on this Dutty Artz blog site, which you can link to here: https://duttyartz.com/

In a previous Dutty Artz series of articles we discussed things to consider when you are considering DJ termination. We presented ideas on what Dutty Artz consultants recommend to Dutty Artz clients on this matter. In this new series we are covering guidelines to bear in mind once you have actually decided to terminate the DJ under consideration. These are guidelines that Dutty Artz consultants go over with their Dutty Artz clients, especially clients new to the Dutty Artz program.

As previously noted, all of this information can be found in Dutty Artz Group’s copyrighted Job Description and Office Policy Manual that all new Dutty Artz clients receive as part of their Dutty Artz program. The Dutty Artz Group’s 400 plus page manual can be easily edited for any office and is something all Dutty Artz consultants ensure is implemented with Dutty Artz clients. In today’s litigious world, having proper policies in place, and following them, is vitally important.

Here are several more guidelines to keep in mind when discharging a DJ:

o When the DJ Begs: If an DJ begs for a second chance, you have got to be tough. Be willing to explain things but don’t give the slightest indication that you are flexible in your decision.

o Arguing the Reasons: Don’t argue with the DJ. Indicate that you have the specific documentation supporting the decision. On the other hand, if the DJ’s argument convinces you that something has been overlooked, indicate you will check it out as quickly as possible and do so.

We will present more guidelines for termination in upcoming Dutty Artz blogs.

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Tu connais le CIASTEP?

Disons

BABYLON RESIDENCE est le laboratoire des expériences musicales des Producteurs ANGELOSPI & GREENDOG, CIAFRICA

Voici l’Histoire

En ce temps Ninja Tune avait 20 ans
Spi a la crève d l’hiver. GreenDog le palu des tropiques. Barboza crie au loin.
Ces productions datent de 2003 à 2009

C’était le son du futur. Ca sonne clairement CIAstep

————

You know CIASTEP?

Say

BABYLON RESIDENCE is the laboratory for the musical experiments of Producers ANGELOSPI & GREENDOG, CIAFRICA

Here’s the History

At the time Ninja Tune were 20
Spi has winter flu. GreenDog has tropical malaria. Barboza is shouting in the distance
These prods are from 2003-2009

It was the sound of the future. Clearly sounds CIAstep

*********

Babylon Residence is sick.
Enjoy

History of BABYLON PART 1 produced by BABYLON RESIDENCE mixed by GREENDOG

1)Dubstrip remix
2)Canabella 2min18
3) 24 3min06
4)Skungha (intro) 3min39
5)Avancia 3min56
6)Corde Indus remix 4min16
7)Quadraspèremétal Harmonie 5min39
8)Passion off Green remix 6min 56
9)Phyzikochilik 7min21
10Dis moi 8 min41
11)Chacun sa voix 9min57
12)Boombass 11min15
13)Elephant Apooo 13min04
14)Methamorphose 14min10
15)kimielectra 14min51
16)Elecwarafrik 16min51
17)Industrialdark 18min04
18)Babylon advisory 18min53
19)Bad y live 21min58
20)Kartaket 24min07
21)Hohiss 25min02
22)Akwaba 27min33
23Bouge 29min
24)Afristepdub 29min43
25)Darl 30min39
26)Slarapoler 31min33
27)Psychi! a3 32 min 25
28)Océane rapace 34min19
29)Skulzz 35min55
30)NBT 3 37 min 30
31)vendsuisam 38min46

[youtube]http://www.youtube.com/watch?v=sMjuzMcDeYI[/youtube]

“DJ /rupture presents CIAfrica” @ amazon / ttl / boomkat

“MANUSA: La clé du puzzle” @ tunecore

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Banksy Smiley Face Grim Reaper

“creativity was the ability to bring to life an image or idea regardless of resources”

– Chief Boima, Interviewed by Eddie Stats

Eddie Stats has a great interview with Dutty Artz familia Chief Boima and Vamanos from Ghetto Bassquake over at his blog Ghetto Palms for the Fader (linked below).  In it came the above quote which Boima mentions in the context of film theory.

I love this idea and it brings me back to a concept that I try to bash my friends and students over the head with all the time.

Creativity is what happens IN SPITE of things like equipment, time and resources.  A lot of people I know cling to the idea that as soon as they get this next plug-in, keyboard, piece of software, money, time or whatever it is that they don’t currently have that they’ll be able to accomplish their creative goals.

I am sorry to report that this is absolutely not the case.

Finish reading this post over at mattshadetek.com

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[youtube]http://www.youtube.com/watch?v=-eCoP9oSfrc&feature=player_embedded[/youtube]

A friend of mine and fellow Dubspot instructor DJ Shiftee just did this video for Native Instruments. It’s him chopping the fuck out of Dead Prez’s ‘Bigger Than Hiphop’ and a dubstep tune by Caspa called ‘Dub Warz’ (which by the way sounds like a blatant ripoff of Mondie’s ‘Straight Riddim’ grime tune, to me).

The performance is crazy. He’s using Traktor and Maschine from NI to chop and re-trigger the audio using cue-points. He did this to a tune of mine ‘Manhattan Timeslip’ from my album Flowers in the mix he did for the Dubspot Podcast, below, and it absolutely blew my mind. Listen to the original, and then check it out on his mix, it’s near the beginning.  Listen to what he did re-triggering the tones from the intro.  Mad.

[youtube]http://www.youtube.com/watch?v=__rch9vLPAI[/youtube]

Dubspot Radio Podcast: Ep 3 DJ Shiftee by Dubspot

Finally, he explains it all in this video.

[youtube]http://www.youtube.com/watch?v=2eLIeEOWGLE[/youtube]