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 Post subject: "EYE CUE" tracked vinyl.......
 Post Posted: Tue Oct 14, 2008 10:56 am 
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I have some in my collection. List the ones that you can recall.

For the uninitiated................

The vinyl has specific areas that have the groove "stretched" over the succession of one loop of the vinyl that gives the appearance of a "gap" that is visible to the eye even in the dullest of conditions.

The "gaps" or "eye cue" spots directly correlate to specific points in the evolution of the track showing a dj where a specific change or break would occur so they could access that point quickly.

If a track had 4 "eye cue" bands then there may also be a tracklisting of times when they occur as part of the label information.

0:00 Intro
2:30 First Break
3:45 Middle
5:00 2nd Break
6:40 Outro

I belive it was Motown who first released a 12" "eye cue" track. I don't know what the 1st one was though.
One I have is Thelma Houston - "Saturday Night, Sunday Morning".

The label Importe/12 also released tracks in this format. American Gypsy - "I'm OK You're OK"
Risque - "Mr. DJ (Burn It Up)"
Tantra - "The Hills Of Katmandu"

Another label was Sugarscoop Recods.
Man Parrish - "Boogie Down Bronx"


Disconet also employed this technique.

Without looking I also seem to remember some tracks on TK records that had it.

Does anyone know of any other labels that may have used this technique?

Any info on the topic or who actually invented it would be appreciated.

I bet it was some mastering engineer @ Motown but who knows.

Wether this technique was invented to help djs do "live " remixes with multiple copies or wether it was solely designed for a dj to be able to see "that" point on the vinyl more easily in the dark is still a question unanswered with me.

What was the "specific" need for which this technique was created.?


While it lasted it was a cool tool for us djs. I wonder why it never caught on. :shock:

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Last edited by pflext on Thu Nov 13, 2008 4:52 am, edited 1 time in total.

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 Post subject: The cost and the vynil itself
 Post Posted: Tue Oct 14, 2008 3:39 pm 
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A lot of it may have to do with the thickness of the vynil, it increased the cost of production. So that is why it didn't catch on. I believe you are right in your belief that it was done to help deejays. And that was effective. But it was not "cost effective".

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 Post subject: More than you think
 Post Posted: Tue Oct 14, 2008 5:10 pm 
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I don't think it wasn't done more because of cost. Once the master is done it's a matter of just pressing the vinyl. The cost is the same regardless of how many grooves there are. I think it depended who was involved in producing the record. In my opinion, if a good deejay was involved in production in some way the groove variations were more likely to be made.

Anyways, these groove variations were done more frequently than you think. I have many records with that distinction.

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 Post subject: Re: More than you think
 Post Posted: Tue Oct 14, 2008 5:43 pm 
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djrayj wrote:
Anyways, these groove variations were done more frequently than you think. I have many records with that distinction.


Excellent! Which ones are they? That's what I'm interested in knowing. Also which labels used this process.

Another was Peter Brown - "Crank It Up".

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 Post subject:
 Post Posted: Wed Oct 15, 2008 3:43 am 
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I'll respond to that at a later date. I'll have to look thru my records, some I have here at home, others are at the Ranch House.

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 Post subject: Eye Cue
 Post Posted: Thu Nov 13, 2008 5:47 am 
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"MY CLAIM TO FAME" - James Wells
had eye cue on the 16 minute album version in 1978.

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 Post subject: Re: Eye Cue
 Post Posted: Thu Nov 13, 2008 7:48 am 
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Jay Negron wrote:
"MY CLAIM TO FAME" - James Wells
had eye cue on the 16 minute album version in 1978.


Was that on the AVI label Jay?

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 Post subject:
 Post Posted: Sat Dec 20, 2008 2:35 pm 
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Paul,

Just came across this thread today...What I can tell you for fact and you can research this if you want, is that MOTOWN were one of the pioneer's of the EYE-CUE in the 70's. They were a company that was quick to regconize the Dj's needs early on and went out of there way to make sure that there releases were dj friendly...Diana Ross -"The Boss" springs to mind at this moment....

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 Post subject: I-Q
 Post Posted: Sat Dec 20, 2008 3:13 pm 
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My Diana Ross' "THE BOSS" 12" Motown promo does NOT have eye-cue. I missed out on that one.

And yes Paul, the James Wells LP is on AVI.


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 Post subject: Re: I-Q
 Post Posted: Sat Dec 20, 2008 3:19 pm 
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Jay Negron wrote:
My Diana Ross' "THE BOSS" 12" Motown promo does NOT have eye-cue. I missed out on that one


Thats strange...can't explain that one!..will dig deep and get back to ya!

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 Post subject: Re: I-Q
 Post Posted: Sat Dec 20, 2008 3:33 pm 
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Jay Negron wrote:
My Diana Ross' "THE BOSS" 12" Motown promo does NOT have eye-cue. I missed out on that one

Jay,

Who am I to question the Guru...dived back into my Berry Gordy book to get my facts straight...My humble apoligies Mr Negron, as usual I am wrong and you are right!...then again you do have ten years on me you fossil you..Lol..What I should of said was that Motown was one of the pioneers of the eye-cue on there disco releases. By`79, and very much with the DJ in mind, 12"s such as Diana Ross' `The Boss' were being purposely intro'd with mix-friendly drum beats, something that's become par for the course these days for most dance tracks released. Sorry for the confusion....

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 Post subject: Jimmy Simpson
 Post Posted: Sat Dec 20, 2008 3:49 pm 
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I wouldn't give all that credit to Motown.

For that 12" release of "THE BOSS" I give credit to Jimmy Simpson, who at that time remixed ALL of Ashford & Simpsons 12"s.
A&S produced Diana's album featuring "THE BOSS" & "NO ONE GETS THE PRIZE"

Jimmy understood what the club was all about and A&S would not give any of their work at the time to any other DJ/remixer to remix.
(why not keep it in 'the family')

Jimmy also did 12" remixes for A&S songs:
"ONE MORE TRY", "TRIED TESTED & FOUND TRUE", "IT SEEMS TO HANG ON", & "FOUND A CURE" ---all with masterful results!

The first time A&S gave out one of their songs to remix was in 1984 with "SOLID" 12" remix by Francois Kervorkian.

I think Jimmy was very busy with SLAVE; he was the chief engineer on all their projects. Also busy with ODYSSEY's "INSIDE OUT" album.

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