MAKING DUB WITH COMPUTERS CHAPTER
31: FIVE WAYS TO START A DUB AND A FINAL VERSION
STUDIO DUBROOM TUTORIAL
WWW, September 18 2014 - You're a selector on a tight budget, whether financially or timely. In any case, you have to browse quickly through the available catalogue of Dub tracks. Or perhaps you're a Dub collector and you're looking for that next addition. Whatever the case, I'm sure you'll agree that when you're looking for or listening to new music, the first let's say 20 seconds are pretty decisive.
That's what we're going to address in this final chapter of the Version Excursion into the basics of Dub mixing.
I've prepared five different ways to start a Dub, using the riddim we've made for this tutorial. All four effect devices are used, just like in the previous chapters. Here they are, with a small explanation:
Variation A:
1. Drum Roll
2. Skanks
3. Bass drops in
4. Drums drop in
When you start with a Drum roll, then cut the Drums to let only the Skanks play, cut the Skanks with echo and start the Bass during the Echo with the Drums entering later, you create a tension. You tend to get impatient to hear the drum and bass.
This is just one way of doing it. However, it is a rather classic method that you most certainly will hear back in many classic Dub tracks.
Variation B:
1. Drum Roll
2. Bass Drops In
3. Horns Drop In and Out
4. Pucking/Clavinet Drop in and out
5. Skanks Drop In and Out
Starting with a Drum Roll, then cutting the
Drums while only the Bass plays and the rest of the instruments are quickly
(un)muted at strategic points.
It creates yet another vibe of tension, as you want to hear the Drum and the
Bass.
Variation C:
1. Pucking/Clavinet only Wet through Pre-Aux 4
2. Bass Drum Drops In and Out
3. Bass Drops In
4. Drums Drop In
Running the pucking Guitar and the Clavinet
through the Aux 4 Pre out to the Reverb, with the bass drum hitting once or
twice before the bass line drops in, is a more spaced-out vibe.
It's not so much to create a tension, it's more a spaced out thing.
You know...
Variation D:
1. Drum Roll
2. Bass, Skanks, Horns Drop in With Space Echo
3. Skanks are muted directly
4. Horns (un)muted Strategically
Because of the many 16th notes played in the
Horn Them, just (un)muting the channel at (no so) random will give an instant
Dub vibe that will catch those that love their "Dubbing With Horns".
Know when to (un)mute and you can create special echo's. For more information
see the Tutorial at studio.dubroom.org
Variation E:
All channels open Aux 3 (Space Echo)
1. Drum Roll
2. Drum and Bass
3. Skanks (un)muted
4. Horns (un)muted
5. Pucking Guitar and Clavine (un)muted)
The Space Echo is so spacey, that in itself feeding the device by merely (un)muting channels does give a Dub vibe. When you have trained yourself in knowing where to find the strategic places to (un)mute, you're pretty close to creating a reasonable Dub in one take.
Here are the Five Ways To Start A Dub Mix:
