Various Artists - Strictly Analog Dub (Dubroom MP3 Album Review)

VARIOUS ARTISTS - STRICTLY ANALOG DUB
DUBROOM MP3 ALBUM REVIEW

WWW, September 2014 - It comes with the puristic title "Strictly Analog Dub", but Dutch Net Label Dubbhism does not deliver that with this otherwise very interesting and enjoyable free Net Album. No, this is not the first negative music review in the Dubroom. Confused? Read On.

You got purists -some would say fetishists- of all kinds. Reggae purists, Dub purists, Analogue purists, Digital purist, Vinyl purists, ah, well you get the idea. The kind of purism that's brought forward in this really nice album is the analogue purity. That is to say, analogue recording and effects purity. Not all tracks are Dub, not all tracks are Reggae, not all tracks are played with analogue equipment. Unless you would call a drum computer and other obviously sequenced stuff analogue. Like these folks.

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Dub Echoes and Reverb (Making Dub With Computers Chapter 29)

MAKING DUB WITH COMPUTERS CHAPTER 29: DUB ECHOES AND REVERB
STUDIO DUBROOM TUTORIAL

WWW, September 14 2014 - Basically, the main thing a Dub engineer does is (un)muting channels and emphasizing these (un)mutings with effects, the two obligatory ones being reverb and delay, or echo. That's something we're going to look at as we continue our version excursion. Just how and where reverb is placed, and different things you can do with delay.

Very common in Dub mixing is adding reverb to snare drum hits, like every 2nd or 4th. When the skanks play, hit one chord with a Reverb attack. Or unmute the skanks and hit the very first chord with a reverb attack. Or the last one, just before you mute. Use a pre-aux and put the volume slider of the drums close to zero while feeding the reverb device with the drums.

Echoes, or delay, can and should not be just a repeat of itself like in the previous chapter. You can change the sound of the echoes by adding reverb on them but also by applying (slight) EQ changes in the echo feed. Or both. You can let the echo run along with the drums while changing the EQ feed, or just make a long echo of let's say a horn hit and change that feed.

Again (un)muting is essential. Let the skanks play along with the drum and bass and mute them at an unexpected time. Or unmute the skanks every 4th or 8th hit. Mute the horns before the theme is over, or unmute the horn while the theme is already playing. Surprise. Shock. Do the unexpected. 

he following video contains all the elements described in the previous paragraph. You will see the Reverb device, the Echo and it's EQ plus the master mixing board. In fact, that's everything that's used in this mix. On top of the screen you'll see a few remarks about the mix. Press replay, pause, whatever. 

 

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(Un)Muting Channels and Using Echo (Making Dub With Computers Chapter 28)

MAKING DUB WITH COMPUTERS CHAPTER 28: (UN)MUTING CHANNELS AND USING ECHO
STUDIO DUBROOM TUTORIAL

WWW, September 13 2014 - Create multitrack recording of instrumental Reggae track: check. Add effects and make a set up: check. Finalize it with a sound check: check! In principle we're ready to make our first Dub. At least, we're ready for an introduction into what this is all about: making Dub with computers. 

Dub is both a technique and a form of art. You can learn the techniques but without the art-istic approach it won't be much. On the other hand, creativity can so much be enhanced with just a little bit of technical knowledge. So, before we'll start to look in some actual techniques we really need to consider our actual artistic feelings and desires when it comes to Dub.

There are many, many different ways to start a Dub. We'll take a look at some of them later on in this tutorial. There's the thing, are you making a Dub of a track that is also to be released as a vocal, are you making a Dub for a single release or as part of a Dub album? All need a different approach. What is it you're trying to communicate with your mix? What are you trying to say with that one particular effect you're using? These questions should be answered in your final Dub.

Where there are so many different forms, styles and techniques in Dub, one thing that all good Dub has in common is the fact that the Dubs are remixes of full musical tracks, with or without vocals. Dub is the Art of taking away, and when there is nothing to take away, things become a bit weird. Dub is the art of transforming a musical track by the use of effects and changing of settings on mixing board and devices. You'll need a musical track to transform, even when you're never intending to release the original track you made the Dub from.

Before I make a Dub, I open the instrumental track in my DAW and save it under a different name. I usually give my riddims a number, like 201401master.rns which I then save as 201401mix01.rns just to help myself keeping track of what I do.

The actual Dub is made in exactly the same way as it would be done in a real studio, with a couple of extra features that were unable in the times when Dub came into existence. It means, that while the track is running you'll change sliders, knobs and everything else you can possibly change and record these changes. This is called automation and every serious DAW should have this possibility. Some programs require you to arm tracks for automation, others will automatically record movements on the mixing boards and devices. 

The last thing I do before I start recording my mix is to make an initial setting. Usually this means I mute every channel except for the drum, bass and effects (channels 11-14). When I don't do a thing, the drum and bass will just play. Only when I unmute another channel and/or mute channels 1/2 (drums/bass), you'll hear something else. 

I do this because one very important general rule is that the drum and the bass should be dominant, there should be many parts where it's just the drum and the bass (plus perhaps an echo), and there should be let's say at least three little parts in your mix where drum, bass, or both will drop out. You could call them "breaks", in a way. That was a tip I got very early on, a tip I gladly pass on.

Now, let's take a little version excursion: a first mix wherein some of the mentioned principles are being put into action. Let's just play a little bit with the track by muting and unmuting channels while channels 3-5 have a little Dub delay (aux 1). 

Take a look at the following video and also watch some basic use of the slider in channel 11, that basically functions as the echo volume:

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Finalizing the Set Up with A Soundcheck (Making Dub With Computers Chapter 27)

MAKING DUB WITH COMPUTERS CHAPTER 27: FINALIZING THE SET UP WITH A SOUNDCHECK
STUDIO DUBROOM TUTORIAL

WWW, September 12 2014 - We have our instruments set up in proper sub mixes, we've added the effects for dubbing and for enhancement of the instrument's sounds, now it's time to actually enhance these sound and make a reasonable mix. We're going to do that in this chapter in word, sight and sound. Actually, this is pretty much the same as a live soundcheck just before a live performance by a band. 

Truth be told: I did a little bit of preparation by using some specific settings on both reverbs. In short, I use a longer, heavier reverb for the Dub mixing (the one at aux 2), and a short one for the instrument enhancement (aux 4). I've also set the Space Echo as a Space echo (aux 3) but we're not going to use that in the soundcheck itself. 

We'll start that soundcheck with the drums. It gets some extra EQ-ing, and a little bit of reverb. The bass is next, gets some extra EQ-ing as well. Then the skanks and the horns. Both submixes have their own phaser, and they are put in action. The balance between the instruments is made in the submix, and then the skanks and the horns are balance with the bass and drums. The last part is for the accompanying elements: the guitar and the clavinet. While you could also add a phaser to that submix, for this tutorial we'll leave it at that. 

I've made three temporal midi tracks for the horns, to make them play the theme all over again. After all, we have to make a setting. After the soundcheck, I reinstated to original horns track. 

This is the sound check, live and direct.

 

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Luciano and Mad Professor - Deliverance Dub Showcase

LUCIANO AND MAD PROFESSOR - DELIVERANCE DUB SHOWCASE
DUBROOM ALBUM REVIEW

WWW, September 2014 - What's the difference between a Showcase and a Dub Showcase, Ariwa Style? Well, the fact that not every vocal track is followed by it's Dub (which you can easily change in your player) plus the fact that there's an extra Dub version Of "Three Meals A Day" labeled Sound System Dub. Luciano and Mad Professor In Fine Style!

Of course, when Luciano sings into the multi track recorder at Ariwa studio with Mad Professor at the controls he listens to excellent music. Of course, when Ariwa prepares for Luciano they will come with a variety of musical works that will all emphasize a different side of The MessenJah. Of course a collaboration between Luciano and Ariwa brings niceness.

This is a Dub Showcase, not a Showcase and not a Dub Album. This is an album about Luciano, and the Dubs are there to recall the vocal tracks while they're still fresh in your memory. While Luciano showcases his many sides, from smooth Lovers' Rock to strong Prophetic Calls and Chants to JAH, Ariwa shows they have just the right music for the right vibe. After all, Roots and Lovers Rock are two specialties of the London-based studio's.

As the album plays for this review, the Dubs are all programmed to be played directly after it's vocal counterpart. That means, no change in the sequence for the first 4 titles. Tracks 9-11 subsequently are three vocals, followed by four dubs. Almost one hour of good vibes, freedom sounds and nice dubwise.

The arrangements, playing of instruments, backing and lead vocals, everything is perfectly worked out. Luciano gives his best, while Mad Professor does his best to emphasize the MessenJah in Dub Showcase style. This is not a Dub style for an all-dub album, this is a Dub style that gives you meditation, gives you some extra time to skank pon di riddim. A Dub style that makes you hear new things every time you play the music.

How shall we call it? What about Roots Lovers Rock Reggae, to combine the two dominant styles on Deliverance Dub Showcase? Mad Professor showing he's not just one of the Dub masters in the world, he knows how to produce music by using top musicians and how to mix Dubs from that music in fine style.

From the very first track, a crucial rendering of Dennis Brown's song that gave the title to this album as well, to the very last one ("Three Meals A Day, No Rent To Pay and No Wife To Obey, Talking Bout Detention....") which is a heavyweight Roots Steppers with equal Heavyweight Dub Mixing, this album is what it says. This is Mad Professor showcasing Luciano in his own special style.

So, what was that about an extra Dub version called Sound System Dub? This is Luciano singing from the top to the last drop with Mad Professor mixing the music in Dub style.

Get all tracks, or just a few. When you're into Dub, get the Dub from "Three Meals" called "One Dub A Day". 

The cheapest place is Emusic and no we do not get paid to say that.

BUY AT AMAZON - BUY AT ITUNES - BUY AT EMUSIC (JUST 0.49 PER TRACK)

Finalizing the FX Set Up (Making Dub With Computers Chapter 26)

MAKING DUB WITH COMPUTERS CHAPTER 26: FINALIZING THE FX SET UP
STUDIO DUBROOM TUTORIAL

WWW, September 11 2014 - The previous chapter gave us a little feeling about the Dub we're going to make later. We've set up a simple but effective Dub delay and this chapter we will add more effects. Before we will, though, let me separate between two kinds of effects and briefly explain their function in a studio where the purpose is to make DUB.

Let me exaggerate a little bit, just to make a point. Let's say that until DUB was first created (or perhaps even discovered by accident), effects like delay and reverb had the function to enhance the sound of instruments and singers. Still, in much form of musical recordings this is the way effects are used. With the introduction of DUB, the effects became instruments just as much as the engineer became a musician if you will.

I know, there's all kinds of "buts" and thing when it comes to the actual historical unicity of DUB when it comes to the transformation of effects from enhancements to instruments if you will, but for this tutorial it's more than perfect and the reason for that is, that you actually want effects that enhance the instruments while you want to keep playing with other effects. 

In our case, we will use a reverb which we'll apply just a little bit on every channel where we'll use the reverb we already created as a Dub reverb. We will also add just one more effect, preferably some sort of simulation of the Roland Space Echo. An echo device that in itself lets you do all kinds of weird things. When you do not use Reason 3.04 or up, you could use some kind of VST effect or something like that. It doesn't really matter, after all it is your inspiration and choice of effects that will make your sound. This is merely a guideline. 

We'll put the Space Echo on Aux 3 and the Reverb we'll use you enhance the sound of the instruments at aux 4. Make sure (if possible), you select aux 4 to Pre rather than Post. When you do so, opening aux 4 will give signal to the Reverb device even when the channel's volume slider is put all the way down. When you select "post", the volume of the aux out will correspond with the volume on the channel volume slider.

We'll also add two phasers. Or three, if you like. Since we made sub mixes, it should be possible to send an aux out from that sub mix to an effect device and route it back to the submix. We'll add a phaser to the horns and the skanks submixes. This will give us a phased skanks and horns rather than dry ones. It's just a little bit nice. Of course, you could add another effect like a filter or flanger, chorus, what have you. 

Take a look at the following video, where you can see everything in action. It sounds more complicated than it actually is, once you discover the logicalities behind everything. Remember, what we're doing is making it as easy as possible for ourselves so that when we're Dubbing we don't have to worry about anything else.

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Roots Raid - From The Top (Dubroom MP3 Album Review)

ROOTS RAID - FROM THE TOP
DUBROOM MP3 ALBUM REVIEW

WWW, September 2014 - Get ready for something really, really crucial: Roots Raid's "From The Top" is an album that you just have to hear. And since it's offered as a free download from the Original DUB Gathering Net Label, there is simply no excuse. Read on why.

Roots Raid is a cooperation project of the bassist of the French DUB Reggae Band Ondubground and Bongo Ben. They're based in the heart of the French country and are part of the Eurodub and Roots Movement. "From The Top" is an album where the two producers showcase their art and skills, along with vocalists like Ranking Joe and Billy Berry.

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A Simple, But Effective Dub Delay And Reverb (Making Dub With Computers Tutorial Chapter 25)

MAKING DUB WITH COMPUTERS CHAPTER 25: A SIMPLE BUT EFFECTIVE DUB DELAY AND REVERB
STUDIO DUBROOM DOWNLOAD

WWW, September 10 2014 - With five input channels at our master mixing board ready to be processed, it's time to add the effects. Before we'll dive a little deeper in fine tuning and stuff, though, we'll add a delay and a reverb which we'll use later in the Dub mixing. You will see why the returns on the mixing board are of little to no use: after all, they're just inputs without any other possibilities attached to them. 

It's best to set up the effects according to the following principle: Aux 1 goes to an effect, the output of the effect lands in channel 11 at the mixing board. Aux 2 to channel 12, aux 3 to channel 13 and aux 4 to channel 14. Take a good look at the following video, where you will see (and hear) all of this explained in about four minutes:

By not using any feedback in the delay itself but rather looping it back to a channel, you give yourself full control over the echo's. Unless you really want to have that specific effect, a Dub echo is not just a repeat of itself. The flow of an echo changes, for example by applying certain EQ on the echo's channel input or -as was done in the video- by adding reverb over the echo. And that's what you want: you want to add layers of effects on top of each other. 

Bypass the whole return options. Rather treat the effect devices as instruments by giving them their own input channel. By doing so, you have established a potential of countless different effects. You can add EQ over a Reverb, Reverb over a delay, or make even a four layer effect in an instant during your Dub mixing session. Makes it spontaneous instead of pre-programmed.

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