Ifficial Blog of Messian Dread

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noreply@blogger.com (Dubroom) — Wed, 26 Aug 2020 02:06:00 +0000

THE MESSAGE BOARDS
DUBROOM NEWS

WWW, August 26 2020 - These are times when YouTube, FaceBook, Twitter, you name it, ban everyone and everything that posts anything against whatever the rule of the day is. These are times to discover that there is much more to the Internet than just your Smart Phone ringing the next message.

So welcome to the Dubroom. This site promotes (DUB) Reggae AND Consciousness since 1997. Huge wealth of knowledge is gathered and stored on the site. There are no updates since a few years, but that is changing.

Until that time, please enjoy the website, but know that there is also a little small Forum where interaction is possible.

Join us!

THE STORY OF THE CREATOR AND HIS CREATION

noreply@blogger.com (Dubroom) — Sat, 22 Aug 2020 22:52:00 +0000

THE STORY OF THE CREATOR AND HIS CREATION
MESSIAN DREAD UPDATE AUHUST 23 2020

WWW, August 23, 2020 - Yes, we live in a troubled time. A time wherein the whole world has gone mad. A time wherein those who are totally impressed, confused, scared, seem to have the loudest mouths. That is, when you listen to the loudest mouths. As always, these are the usual suspects. The powers that be, the useful idiots, anyone but that one telling truth.

How long is it, that we know we are fed propaganda?

This website has exposed Babylon Shitstem, but it's webmaster (that would be me) went tired. I had a serious medical issue too, heart attack. Yes, you can laugh at me and say I am a weak heart. But you know not what you are talking about. So that's for the many enemies I gathered throughout the years, even decades.

But who are these "enemies"?

I cannot even name them. They are numerous. But what have they done, what was their message? That is clear when you see there is one thing I am "not allowed" to say. That "one thing" is this:

"For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life"

Here is the link, in case you doubt me.

Yes, this is what I'm not allowed to say or preach.

And I can tell you why.

Simple: Because it is the Truth!

You are not allowed to read the truth. You are not allowed to think further than the boundaries you are given.

But I can tell you this: we are part of a story of the Creator and His creation. We are His creation. And I urge everyone who reads this to find peace with the Creator.

One Love,
Messian Dread

Trumpage

noreply@blogger.com (Dubroom) — Sun, 09 Apr 2017 20:24:00 +0000

TRUMPAGE
MESSIAN DREAD COLUMN APRIL 9 2017

WWW, April 9 2017 - Just a few months after he was selected to be the next American president, Donald Trump proves once again how those that look at their preferential candidate as if he is the Messiah will turn out fooled.

Just a few days after the Americans announce that regime change in Syria was no longer top priority, there is an attack with chemical weapons and the blame is put on the Syrian president Assad. Ivanka Trump, daughter and advisor of president Trump and close friend to Chelsea Clinton (indeed, the daughter of) tweets the following:

Heartbroken and outraged by the images coming out of Syria following the atrocious chemical attack yesterday. (LINK)

That's a true challenge for daddy Trump. Will he let his daughter continue to feel bad over something that happens or will he defend her, grant her her wish, or will he do what people elected him to do? In the mean time, we know the answer. Here's the next tweet:

The times we are living in call for difficult decisions - Proud of my father for refusing to accept these horrendous crimes against humanity. (LINK)

Yes, it happened. Donald Trump went to war in Syria, applauded by warmongers like John Mc Cain and Hillary Clinton. A big lesson to those that have put their trust in men by thinking they would basically elect the Messiah into the White House. Others went before them... Much more important is the fact that Trump's decision to is directly supporting the Muslim terrorists in their Islamic State and brings the world closer to WW3.

A coalition of Russian, Syrian and Iranian forces have been dealing blow after blow to ISIS. They're heading to Raqqaa, the proclaimed capital of the Caliphate. How convenient or strategically was an attack with chemical weapons on a civilian population for the Islamists? As I heard it state: "Whenever ISIS need air support, they just have to drop chemical weapons".

In the mean time, Russian president Vladimir Putin said he would strike back next time the USA will bomb Syrian airfields. After all, Russia and Syria are allies and the Syrian airfields are vital infrastructure in the fight against the Mohammedan Caliphate.

Now, back to Trump's flip-flop.

He was elected partly because he wanted to stay out of Syria. No more neo-conservative or neo-liberal if you will regime change games. No more backing up ISIS forces and other Islamists. All of this as opposed to Hillary Clinton, of whom everybody knows she is a hawk and wants to start wars wherever she can.

Trump vehemently opposed Obama's warmongering policies (Tweet left) and so do the people who voted for him. Well known radio talk show host Alex Jones, for example. He basically sold out completely to Trump and surely inspired many to vote for the guy with the funny hair. Now he's trying to find a way out.

Others still "keep the faith". It is very interesting to see how Trump supporters now try to defend something they used to vote against. I've seen a comment by someone who said something to the effect of "Better that Trump start war, because I wouldn't want Hillary to do it". Yes, that is how blind people can follow a leader, trying to excuse him for doing the very same thing that he judged his predecessor for.

Where this will all lead? We'll surely see it as things develop.

In the meantime: let's keep in touch.

One Love,
Messian Dread

All Things Work For Good

noreply@blogger.com (Dubroom) — Wed, 29 Mar 2017 19:29:00 +0000

ALL THINGS WORK FOR GOOD
MESSIAN DREAD UPDATE MARCH 29 2017

WWW, March 29 2017 - Over two years since the last update. Apart from a few postings on the Dubroom Message Boards and Google+ as well as some interesting discussions on YouTube, nothing has come out from yours truly. So what has been going on?

Was it a coincidence that I had to get to the hospital just a few days before I would do my first performance of the year? This question has been running through my mind several times. Of course, it had to come one day, that's for sure. A thing that might illustrate my condition was the fact that my weight was a mere 53 kilo (116 pound). I thought I was 65 (143 pound). I was seriously underfed, which obviously had a consequence. So yes, it was a matter of time before I would end up in hospital. No doubt about it.

After my initial revalidation process, I gradually regained some strength. At first I couldn't walk for more than 5 minutes without having to rest. Currently I am driving my bicycle almost daily and I make trips of 40 kilometers (25 miles) on average. Takes me two, two and a half hour. While I'm riding, I'm listening to things. Debates, interviews, lectures, audio books. I'm catching up, that's a fact. It wouldn't have happened without me having to change my lifestyle significantly.

Still, I find it hard to simply ignore the timing of everything.

The Bible says that "we know that all things work together for good to them that love God, to them who are the called according to His purpose." (Romans 8:28). Not hard to imagine how can see my hospitalization and subsequent change of lifestyle in this very same context. You see, while I was doing all these musical things I did not have time to actually to an in-depth study of the Book of Books. To examine and deepen my faith, the most important thing in my life.

It begged the question: "What is more important, to entertain people or to grow in knowledge and therefore in fruit?" Asking the question is actually answering it. Sure there is a time and place for everything. A time to rejoice, a time to mourn. A time to be angry, a time to forgive. A time to share, for example my musical productions, and a time to just take and gain, in this case: knowledge and hopefully some more wisdom.

Recently I watched an interview with the very well known hard rock artist Alice Cooper. Turned out he gave his life to Jesus. He said something like: "You know, God said to me, now you've seen enough and now I want you for myself", something to that effect. I can see a bit of a parallel, even though I'm a born again Christian since 1985. Not being part of any Christian Industrial complex, just out there "in the world", as it is called. Performing at places where you average Christian doesn't go, just to share Jah Light. Sharing, giving.

A few days before I would perform, God at least put me out of action. I had nothing more to give.

In hindsight, I can see that this did not came out of nowhere, even though it seemed so at the time. I read updates from before. I think about the enormous fatigues I had while still feeling compelled to "trod on" as the saying goes. Even Christians were more interested in the music than anything else. For me it was no question, even though I did develop a view of myself being the band that plays the music while the Titanic is sinking about 5 years or so ago. No, there was no way for me or others to start realizing I was not the well that never runs dry.

My collapse two years ago changed all of that.

Because it's already two years, I can say that I think I am in a new phase in my life. Having made hundreds of tracks of which 95% are free to download, is that not enough? Do I need to produce more of the same, just for the sake of having a flow? It costs a lot of money, time and health to do so.

I think the time is there for me to continue studying, learning, deepening my faith and staying reasonable healthy.

Let's keep in touch.

One Love,
Messian Dread

Discomix Danger: Kojak, Seamus Ikonya, Clifton Yeates, U Roy, Prince Jazzbo

noreply@blogger.com (Dubroom) — Fri, 05 Jun 2015 11:24:00 +0000

VARIOUS ARTISTS - DISCOMIX DANGER (EP)
DUBROOM NET LABEL RELEASE

WWW, June 2015 - Five traditional Roots Reggae discomixes: it's a showcase EP. Five extended tracks, with the first half carrying the original Reggae riddim with full length lyrical content, followed by it's Dub version. Hence: Discomix Danger! Experience how Dub is actually transforming a Reggae track into a spaced-out piece of ear candy.

When the B-sides of Jamaican singles gradually changed from a mere instrumental version to a complete DUB work-out by ones like King Tubby's, all of this paved the way for the maxi-singles or twelve inch vinyl records: the extended mix containing both vocal and DUB version in one long stop mix, often called discomixes. This EP honors the tradition with five traditional discomixes, all created by Messian Dread in the Dubroom studio. Some material was pre-recorded in studio's like ARIWA, (most of) the vocals were licensed from Don Goliath but everything was completely re-arranged and fit into original Dubroom riddims.

TRACKS

1. Kojak - Prevail (Discomix) 7:24 (320 KBPS MP3)
2. Seamus Ikonya - Babylon System (Discomix) 6:24 (320 KBPS MP3)
3. Clifton Yeates - Come Hail The Lord (Discomix) 6:38 (320 KBPS MP3)
4. U Roy - Mash Down Satan (Discomix) 7:49 (320 KBPS MP3)
5. Prince Jazzbo - Natty Walk (Discomix) 8:22 (320 KBPS MP3)

Please do not re-publish the actual music, because unlike Dubroom releases before 2014, this release is © Messian Dread/Dubroom. Available for free: 128 Kbps/320 Kbps MP3 Files, CD Quality Wave Audio.

CLICK HERE TO BE DIRECTED TO THE DOWNLOAD PAGE

SOME SOURCES:

New Release Announcement: Discomix Danger EP on June 5th 2015

noreply@blogger.com (Dubroom) — Wed, 03 Jun 2015 17:39:00 +0000

VARIOUS ARTISTS - DISCOMIX DANGER
DUBROOM NET LABEL RELEASE

CHECK BACK JUNE 5TH FOR MORE

Three Weeks On The Edge Of Physical Life (Messian Dread Report February 19 2015)

noreply@blogger.com (Dubroom) — Thu, 19 Feb 2015 15:37:00 +0000

THREE WEEKS ON THE EDGE OF PHYSICAL LIFE
MESSIAN DREAD REPORT FEBRUARY 19 2015

WWW, February 19 2015 - There I was, just a couple of days before what would be my first live performance in this year, just a couple of days after an initial positive outlook and update I wrote about this 2015. There I was, in an ambulance on my way to the hospital where I found out I would have to undergo a life-saving surgery in yet another hospital. After three weeks of absence, I returned home yesterday and wrote the following report.

It's a lesson which I never seem to learn: writing updates, sharing plans, finding out that things went different. You could do a research project analyzing updates and factual progress on this website. No difference about that when it comes to this report. This time, though, it's truly serious. Yesterday I arrived back home in a taxi after a three week absence and with the prospect of five weeks of recovery and an even longer revalidation process. Yes, indeed: a medical situation. A serious medical situation which -without intervention- would have caused my physical death. The direct reason I'm still here is the fact Jah used some magnificent surgeon and staff, intensive care personnel and a whole lot more medical people to keep this body alive.

In short: I'm out of the hospital, my body is recovering from surgery and situation. I'm unable to do most things I'm used to do, stuff like lifting things and working hours and hours in a row. I've got some serious fractures and wounds that need healing before they will turn into scars during the next weeks and only after that initial recovery will I have to go through a rather intense revalidation process. Yes, it's rather serious even though I'm not in any direct life danger anymore and with some adjustments I can, to quote the surgeon under whose knife I was for many hours, "get old".

At this moment, I can spend some time writing and I'll have to take short walks, but not too much. I get physically tired quite easy, can't do simple things like lifting a thing and even sleeping at night isn't giving the comfort it should give. I'm taking paracetamol 4 times a day to keep the worst pains away which is working wonders. Fortunately I'm a reluctant medicine taker so my body does respond very well whenever I do take a painkiller or whatever.

Exactly a week ago my wife got a phone call from the surgeon, that everything went well and I would soon wake up in the Intensive Care unit in the hospital, surrounded by all kinds of tubes and drains. During the surgery several vital organs went off-line and a machine kept me alive. Quite serious, especially when you're -like me- not used to all these things first hand. I only had a few medical situations in my life and they were all in the previous century. A broken arm, stuff like that.

In the two weeks before I could undergo the surgery, I was in the local hospital where I got the best care I could possibly get. The first week was one full of uncertainty, full of friends and family visiting and encouraging me with moral and practical support. In the second, things worsened and the seriousness of my condition became painfully clear. I had to focus on keeping my body alive and only my wife and father could visit me. I had to reserve every milligram of my mental strength to maintain my own condition, something completely new to me. In the same time I had to accept that I was taken care of, for that very same reason. This was all to keep my body from passing away...

At February 11 I was driven to a larger hospital where I spent the night, woke up at 6 am the next day and went "under the knife" about 90 minutes later. Some 24+ hours further on I was taken from the Intensive Care unit and was driven back to my hometown by ambulance the next Monday, February 16. Jah had blessed me with a quicker-than-average recovery and so I was released yesterday, February 18.

All of this leaves me in this current situation. Truly a time wherein the words "He Maketh Me To Lay Down" translate directly to my current condition, especially where it relates to this work on the Dubroom and "Planet Reggae". I still have to give most of my strength and energy to recovering. I know what I have to do, I have a very strong support base and some of the best and finest medical people to assist me in this process. This is a process, a project in which my body has to get fit so that my soul and spirit can do the things I'm supposed to do.

I'm not afraid for physical death. I've seen death in the face before. In fact, I know for a fact that the only reason I am not with Him in Zion already is because He wants to use me in this physical realm. For what, I don't know. That's not my business. It is my business to keep this body alive in every way possible. This rest and blessing is my drive to stay alive, not the fear of death itself. I wish that very same rest and blessing to you too, whoever you are and in whatever situation you are.

Let me conclude this little report by saying that I do not have any plans other than to do what I can when I can. There is always a lot to do, but I haven't got any idea when I'll be working on what. After all, when my body isn't able to function there's very little I can do anyway...

One Love,
Messian Dread

2015 Has Arrived...

noreply@blogger.com (Dubroom) — Tue, 06 Jan 2015 13:28:00 +0000

2015 HAS ARRIVED
MESSIAN DREAD UPDATE JANUARY 6 2015

WWW, January 2015 - After a turbulent year both personal and in the musical field, this brand new year 2015 started nice and quiet. A New Year's greeting and update from the Dubroom webmaster.

A year ago, I was and was not looking forward to the upcoming year. It was around this day, that we've entered into a legal procedure which we knew would take about a year before it's completion. A very necessary procedure that would provide us with a much more stable living situation. We knew we had to go all through that 2014 in order to reach 2015 wherein this stable situation would be a fact. And yes, it is a fact. Thanks to Jah.

For me, personally, this means that we here have reached a situation where I -and others- have been working to establish in a seven yearlong process. After seven years, I can finally testify that Jah is good and what He promises comes to pass.

So yes, a happy new year every body!

I've been quite productive musically during that final year 2014, a thing which I hopefully will be continuating in the upcoming year. For sure is that I'm scheduled to play music January 31 during JAH SESSIONS in my local home town of Drachten in the Netherlands. Another thing in the planning is to purchase a reverb and delay for use in a new studio set up.

Pretty soon I'll start up the diesel engines again and begin to release more music, mixes, reviews and tutorials.

For now, I'm enjoying the vibe in this first year of what could be called a newly found freedom, the freedom to live the life I love and love the life I live.

Not alone, in case you wondered.

One Love,
Messian Dread

Messian Dread - Dub Whyze (Dubroom Net Label Release)

noreply@blogger.com (Dubroom) — Wed, 26 Nov 2014 18:45:00 +0000

MESSIAN DREAD - DUB WHYZE
DUBROOM NET LABEL RELEASE

WWW, November 2014 - The urban, futuristic atmosphere of this release is depicted in the art work that comes with it. Over ten minutes of deep Dub created from two brand new original Dubroom riddims: here is Dub Whyze!

In many ways, this release marks the beginning of yet another change in the Dubroom's studio. With the recent arrival of Propellerhead's Reason 8.0 music production software and the Dubroom's in-depth coverage of the Digital Audio Workstation (DAW) came changes for the way the music is actually produced. Those who follow the Dubroom recently will have noticed all this coverage as it was the sole focus of the Dubroom throughout the months October and November in this 2014. Several tracks have been created and put on You Tube as part of this coverage, but Dub Whyze is the first official release from the Dubroom's Net Label.

Both tracks have an effect on the vocals that is, to say the least, highly controversial. It works on the vocal and gives it a different melody. The effect is called "Auto Tune" and much is said about it. Some claim it can turn the worst voice into the best singer but that's not the way it's used in this release. As with everything in Dub, effects are there to be noticed and not to cover up anything. Love it or like it, but the effect does give a special vibe to the overall mix and in itself justifies the cover art.

No need for any further tech-know? Here's two tracks for your musical pleasure.

TRACK DESCRIPTIONS

Murderation YY

The tempo is slow, drum and bass lay down a heavy line: When You Hear This One It's Serious. From start to end, that is. In a cool and dreadly pace that should not be underestimated. Horns, guitars and other instruments drop in and out as they get totally transformed by the multitude of effects and detailed mixing work. A Dub with a deeper meaning for real.

Urban Poison

The city without pity. For a dread it can be hard to dwell in it. Keeping your roots and culture where they should be is often made impossible by a multitude of rules, regulations and repression. That's what this track is all about. A steppers drum with a bassline that says a thing or two, instruments and echo's get splattered into a million pieces like breaking glass: another hard hitting Dub from the Dubroom studio and net label.

TRACKS

1. Messian Dread - Murderation YY (5:15) (320Kbps MP3)
2. Messian Dread - Urban Poison (5:14) (320Kbps MP3)

CLICK HERE TO BE DIRECTED TO THE DOWNLOAD PAGE

SOME SOURCES:

Willi Williams: "Smugg Records Are Pirates"

noreply@blogger.com (Dubroom) — Fri, 03 Oct 2014 15:04:00 +0000

WILLI WILLIAMS: "SMUGG RECORDS ARE PIRATES"
DUBROOM (DUB) REGGAE NEWS AND VIEWS

WWW, October 3 1014 - In a very informative, but partly disturbing interview the Midnight Raver recently held with well known Reggae Singer Willi Williams, the Ammagideon Man was quoted about a release called "One Love". As the album was reviewed and promoted by the Dubroom, it was shocking to hear what the brethren had to say about this release. In short: it's pirated, don't buy!

Ask Bunny Wailer about the early Wailers Black Ark recordings you can find almost everywhere. Ask Scientist about his well-known Greensleeves Dub Series. Ask Willi Williams about "One Love. Not the concept, but the album. Released by UK-based Smugg Records. Who were so kind to send the Dubroom a promo copy years back when it was released. Which was subsequently reviewed and promoted from this very website.

This is what he has to say:

“The ONE LOVE record is a pirated record. These guys been releasing my records for years and no matter how you try to get to them to let them know that it is not legal they insist on doing it. I send plenty letters from my lawyers and every ‘ting but they are shady. Its a shadowy business but Smugg Records is one of the pirates, they just using that name to sell the records. Especially this new record was pirated by them at whoever is behind this Smugg Records. I even got to one of the guys one time and he was very shadowy and could not tell me how he got it because I have no agreement with them. You know I did some tracks way back with an individual named Steven King out of the UK – him have a label called Uptempo – I did a couple of tracks with him as producer and he went and took my tracks from these sessions along with some others and I suspect that is how they release these pirated records.”

source

The Book of life teaches us how "The Love For Money Is The Root Of All Evil". That's not the One Love Willi Williams sings about, that's not the definition of One Love over here in the Dubroom, either. That's the love for pounds, euros, dollars. The kind of love that brings people to make wars and kill millions.

Needless to say that from this place we offer our apologizes -without any objection- to Willi Williams for having promoted something that did not provide him with the daily bread that he works for so hard.

Equally, we gladly extend this piece of information from Willi Williams aka The Messenger Man to everyone who considers buying or promoting the album.

One Love (yes!),
Messian Dread (editor, dubroom.org)

CLICK HERE TO READ THE INTERVIEW

Step It Up In Dub (EP) (Dubroom Net Label Release)

noreply@blogger.com (Dubroom) — Thu, 02 Oct 2014 16:44:00 +0000

STEP IT UP IN DUB (EP)
DUBROOM NET LABEL RELEASE

WWW, October 2014 - Hard hitting Steppers riddims form the foundation of this EP featuring seven vocalists in three long and intense Dubwise mixes. Extreme Dub work-outs on the bass, in fact there's a lot of abuse of the effect devices overall in this release. While the vocalists deliver enough lyrical content, sounds of creation and full blown instrument sections add to the undeniable power of the drum and bass lines.

While the three tracks can be played as a single track, for example in a play list or DJ set, listening to the full 16+ minutes will put them in a perspective. This EP is about the power of the bass, which -as a scientific study recently documented- is not just a slogan chanted in the Dance or otherwise, but a reality. The bass as foundational sound? Here is where DUB undisputedly stands at number one. That's reality too!

The second track is very deliberately put in the center of the three-track release. It's about the sound of a much greater power than any man-made bass instrument. It's about a power described in oh so many Rastaman lyrics and that's the power of JAH, audible in the real thunder and lightning. In the first track we'll hear everything about the bass line, in the last track we're rising up the Red Gold and Green banner of Conscious Dub.

The power of the bass, of thunder and lightning, blesseth are those that know themselves to be rooted in JAH.

Of course, with this trinity of Dub track about (Jah) Power you're given a hint to search something about another Ikon of the Power of Jah, Who Himself is a Trinity just like we little people are (body, soul spirit).

With such a foundation, yes, step it up!

Stepping it up in three different Dubwise mixes, wherein no instrument, voice, slider knob or button is left untouched. Even though everything stays coherent, the hardware was put to enormous work as sometimes no less than seven different effects are used in the same time.

Stepping it up in three hard-hitting steppers riddims, all with real horns and real this-and-that and original Dubroom bass lines. Visit studio.dubroom.org when you are interested in the more technical or legal aspects of this release, which is -as all Dubroom productions- fully legal and licensed.

TRACK BY TRACK DESCRIPTION:

Jah Rooti - Dub Up Di Bassline

It takes a while before you know what Jah Rooti is talking about, but after about 30 seconds or so you'll get the point more than clear. As the tune continues to develop after the initial start, effects are layered to the extend that it is no longer clear just what effect comes from which source. Not just nice for a little studio research but also for the enjoyment of Dub music.

Then, everything drops except for the bass and Jah Rooti chanting about the bass line. Filters and reverbs are not spared and when the drums finally drops back in the Dub gets into a yet weirder phase, only to come back with full instruments and singing and lead to the end in yet another segment of full-effect style mixing.

Ras Khaleel - Pray Up In Dub (ft Aiva and Penti)

Definitely the center-piece of this EP, it's length being an indication of it's importance in the story of Step It Up In Dub. True sounds of nature open up, including a massive thunder roll. During this exposition of Jah Power, a melodica and Ras Khaleel lead us to the horns and Penti telling us what to do when we wake up in the morning: chant a psalm. Ras Khaleel enters asking for some positive thoughts while I and I pray as we pray about serious things.

Why does Babylon take our life for granted, killing our brothers and our sisters in a continual war against mankind and it's Creator? It should be about love, no hate should come around as we live this life that our Creator has given us. Once again, here is the message of One Love in Dub.

Excellent backing vocals by Aiva, crucial Horns by the Zion Train massive, intense Dub mixing from the Dubroom's in-house engineer, over six minutes of deep Dub meditation.

ADX - Dub Up Di Banner (ft Soulja and Penti)

Penti opens up giving a short history lesson before ADX continues to describe the current situation. Soulja takes over and calls for more love, honor and respect which is what has to be done in these current times of violence and hatred. Reggae, and especially DUB has spread from Jamaica to the UK to the whole world and has stood at the roots of virtually all electronic musical styles and techniques.

Where the music is so influential, so should the Message that comes with this Music since ancient days.

That's why we rise up the Banner of Red Gold and Green.

1. Jah Rooti - Dub Up Di Bassline (4:55) (320Kbps MP3)
2. Ras Khaleel - Pray Up In Dub (ft Aiva and Penti) (6:08) (320Kbps MP3)
3. ADX - Dub Up Di Banner (ft Soulja and Penti) (5:17) (320Kbps MP3)

CLICK HERE TO BE DIRECTED TO THE DOWNLOAD PAGE

SOME SOURCES:

Ras Kitchen and Asante Amen - One Perfect Love Dub/Rastaman Camp Fire Dub (Dubroom Net Label Release)

noreply@blogger.com (Dubroom) — Tue, 23 Sep 2014 19:04:00 +0000

RAS KITCHEN AND ASANTE AMEN - ONE PERFECT LOVE DUB/RASTAMAN CAMP FIRE DUB
DUBROOM NET LABEL RELEASE

WWW, September 2014 - The second "virtual seven inch" featuring Ras Kitchen has a much deeper Roots and Culture vibe than the first one. Two heavy Roots Dub tracks, each having their very own distinctive vibe and approach. What both track have in common is the superb vocal singing of Asante Amen, Horns from Mad Professor's Ariwa studio and Messian Dread's Dubwise mixing.

Together, the two different tracks show the versatility and wideness of variety possible within Roots Reggae (Dub). In a way, it's also a statement concerning the use of "real instruments" versus programmed music. There is no "versus", there is just one thing: the rhythm of Roots Reggae as a means of communication. Playing and producing is one thing, knowing yourself and Reggae music is quite another.

One track has the (played) drums from Roots Radics drummer Style Scott, the other has a programmed Drum rhythm from Mad Professor's Ariwa studio. One track has a digital filter on the bass, the other track has a virtual analog. One track has a piano and guitar playing just the riddim where all the echo's and other effects do their thing, where the riddim or skank section at the other track features a lot of play with guitar wah's and an organ bubble.

Both tracks feature the vocals of Ras Kitchen and the very, very talented and skilled singer Asante Amen. Both men "happen" to be Rastaman, and a Rastaman comes with reasoning and with a meditation or a message if you will. Food for thought.

In one track, you'll hear Assante Amen chanting and praying for equal rights and justice which "happens" to be the state of reign when Babylon is finally downstroyed and the Most High rules visible for all mankind. Yes, this is when Righteousness will Cover the Earth as the Book of Life tells us. This fire is blazing in the hearts of all true Rastaman, and if you want to make the parallel between the Rasta Food that Ras Kitchen is cooking and explaining in the track and the reasoning Asante Amen gives as a Rasta Food for thought, you've made the same parallel as Messian Dread when he made this Dub.

In the other track, there is much more a dialogue between Ras Mokko and Asante Amen. Together, they chant down racism and point out to the One Love, the One Perfect Love that enables people of all color to come together. We do not want no division along racial lines and lies, so that we are all equal and there is no one race superior and another inferior. This is what the Rastaman works on on a global scale, this is the message to the world and not just from the two vocalist but equally from the producer of this free release.

When you like the music, consider donating a little bit of money Ras Kitchen and/or purchasing tracks by Asante Amen.

1. Ras Kitchen and Asante Amen - One Perfect Love Dub (3:59)
2. Ras Kitchen and Asante Amen - Rastaman Camp Fire Dub (3:48)

CLICK HERE FOR THE DOWNLOAD PAGE (128/320 KBPS MP3 OR CD QUALITY WAVE AUDIO)

SOME SOURCES:

Messian Dread is NOT on Facebook (Column)

noreply@blogger.com (Dubroom) — Sat, 20 Sep 2014 19:03:00 +0000

MESSIAN DREAD IS NOT ON FACEBOOK
MESSIAN DREAD COLUMN SEPTEMBER 20 2014

WWW, September 20 2014 - When you Google "Messian Dread facebook", you'll see a link to a Facebook page which says: "Messian Dread Is On Facebook". Well, Messian Dread is NOT On Facebook, and I'm often asked why. Good idea to put that answer in a column. Hopefully one of these days that column will be among the search results so that the right information will come at the right place at Google.

Yes, there's some profile on Facebook with my name, but it's not my photo. I don't know who that person is on the photo, all I know it's not me. Maybe some funny guy put it there.

With that out of the way, let me share with you why I am not on Facebook and in fact even would call for en exodus out of that voluntary ghetto inna Cyberspace, as the website should be called in my not so humble opinion. Facebook is everything that the Internet is, and because of that it has become completely unnecessary because it is not everything that the Internet is. Confused? You don't have to be.

I do not know how many times I'm asked why I don't open a Facebook account, if only because "all" websites and "all" contacts have one and even check their accounts daily. Or they are like most people, they just stay logged in and let Facebook record their each and every move on the Internet. Where I live, I see people glued to their mobile Facebook devices as they bump into each other because they're not looking where they walk. Or worse, drive.

In fact, that argument was the only valid one for me.

I imagined myself opening a Facebook account. What would my account status be? I couild only come up with one. "What Are You Doing Here?" would truly be the only thing I could say and the obvious answer would be "Well, What Are YOU Doing Here?". Indeed. People join facebook because people joined facebook. Like Myspace. People joined Myspace because people joined Myspace.

Facebook is a website on the world wide web, a part of the Internet where there are websites. People can make an account on that website and start to have contact with other people, share messages and all other things publishers do. But wait. You can do that on the Internet anyway. Facebook is just a website. There are millions and millions and millions of websites. Sure, they all have their... Facebook page. Why? Because there are many people on Facebook who are so cyber-illiterate that they do not even know that Facebook is just a website and that there's a bigger Internet out there.

Facebook has gone to the Stock Exchange. It's a company and it's sold to stock holders for billions of dollars. It's a company, so it has a product. That product is (the privacy of) it's users. People who join Facebook sell their privacy for the ability to communicate, where Facebook made billions selling that very same privacy to the ones whose only drive is the Roots Of All Evil: the love for money.

That's why Messian Dread is NOT on Facebook. Whatever Facebook tells you.

One Love,
Messian Dread

Music For The Roots And Dub Massive (Radio Dubroom 2014 Chapter 8)

noreply@blogger.com (Dubroom) — Fri, 19 Sep 2014 21:18:00 +0000

MUSIC FOR THE ROOTS AND DUB MASSIVE
RADIO DUBROOM 2014 CHAPTER 8

WWW, September 2014 - One hour and twenty minutes of not just pure niceness, because some of it can only be heard at this podcast and yet other selections are not yet released or released only on vinyl. This is a special selection that you just cannot afford to miss out.

The set starts with a track from the recently released Heavyweight Dubwise Selection LP, followed by a fine track with to-the-point lyrics from the Irie-On-Air Net Label. From the Original Dub Gathering another fine track with ditto Dub, followed by a track that can/could only be downloaded hundred times. This is a track about an upcoming duo-release from the Dubophonic and Dub Key Net Labels.

The segment that follows contain two tracks from STEPPAS.com's Dub Dynasty and two from Moa Anbessa, recently reviewed in the Dubroom. All tracks with their Dub version, of course. Of course! There's one excellent Dub from the Dub Reservoir Net Label in the segment, too.

The show closes with a Discomix by Horseman and Dillinger, one by Seamus Ikonya which is on You Tube and a Discomix featuring Kojak at the microphone stand. That track has -just like the previous one- a Dub one the recently released Heavyweight Dubwise LP and is currently unreleased.

Hear it here!

PLAYLIST

01. Messian Dread - Loving Dubwise (Free Download)
02. Echo & Reverb All-Stars - Tres Caravelas (Free Download)
03. Echo & Reverb All-Stars - Christopher Colonus (Free Download)
04. Fu Step- Holidays (Free Download)
05. Fu Steps - Holidays Dubwise (Free Download)
06. Red Star Martyrs - Roots Rock Rebel (Discomix) (More Info)
07. Moa Anbessa and Prince David - Watch Dem (Vinyl Release)
08. Dubwise (Vinyl Release)
09. Dub Dynasty and Prince David - Evil Fe Bun (Vinyl Pre-Release)
10. Dubwise (Vinyl Pre-Release)
11. Dub Dynasty and Ngoni - We Got Jah (Vinyl Pre-Release)
12. Dubwise (Vinyl Pre-Release)
13. Barbes D and Emanouel - King Of Dub (Free Download)
14. Moa Anbessa and Jules I - Jah Calling (Vinyl Release)
15. Dubwise (Vinyl Release)
16. Horseman and Dillinger - Dangerous and Famous (Discomix) (Free Download)
17. Seamus Ikonya - Babylon System (Unreleased Discomix) (Video)
18. Kojak - Prevail (Unreleased Discomix)

DOWNLOAD PODCAST (128 or 320 KBPS)

Five Ways To Start A Dub And A Final Version (Making Dub With Computers Chapter 31)

noreply@blogger.com (Dubroom) — Thu, 18 Sep 2014 12:44:00 +0000

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:

CLICK HERE TO READ FURTHER

Using EQ With Space Echo And Reverb (Making Dub With Computers Chapter 30)

noreply@blogger.com (Dubroom) — Tue, 16 Sep 2014 19:26:00 +0000

MAKING DUB WITH COMPUTERS CHAPTER 30: USING EQ WITH SPACE ECHO AND REVERB
STUDIO DUBROOM TUTORIAL

WWW, September 16 2014 - It's often said how in Dub, the mixing board turns into an instrument at the hand of the engineer. Like a keyboard player touches the keys, the guitar player the strings. True, true, true. Pressing the mute buttons, using the sliders, and not just on the mixing board. The effect devices are not safe from the hands of the Dub engineer.

During my live performances when I dub a band live, it happens that I have to use the PA of the hall. As I count the drops of sweat on the head of the engineer as I'm telling him how I am going to use his mixing board, I hear him think: "there goes my setting". When I continue to tell him how I want the delay and other effects routed back to the mixing board via a channel input, I see him watch the aux-out buttons while in his head he hears the feedback. Yes, the mixing board becomes an instrument.

Where an engineer usually fine-tunes his mix and explodes whenever someone wants to change anything, a Dub engineer continually changes these settings. No, just by (un)muting channels and not just by knowing where to drop what kind of echo and how to transform the echo feed with EQ like we did in the previous chapters. Here's another general guideline: whatever you can change with EQ, change it!

In this next video, it's not just the simple Dub delay with it's EQ and the reverb. Remember, we've added a Space Echo at Aux 3. That's what we're going to use now and we are going to use the EQ settings of the reverb as well. Before you press play, though, just a little bit more info about the "Space Echo".

There are many soft- and hardware devices similar to the Space Echo. Even free VST effects that are perfect to use, but that's for another place. In a way, you can look at the Space echo as a combination of Delay, Reverb and EQ. Where I use a separate EQ with my Dub delay and layer it with reverb from the mixing board, the Space echo does all that in one device.

Watch as the "decay" (length) buttons and the EQ on the blue devices change. The blue device at top is the Reverb at aux 2, the blue device below the mixing board is the Space Echo. Read the extra information as you watch just how EQ and other things are used:

CLICK HERE TO READ FURTHER

Digital Dignity: Half a Gigabyte of High Quality Free Licensed (DUB) Reggae Samples In a New Studio Dubroom Feature

noreply@blogger.com (Dubroom) — Mon, 15 Sep 2014 21:35:00 +0000

DIGITAL DIGNITY: HALF A GIGABYTE OF FREE LICENSED HI-Q (DUB) REGGAE SAMPLES AND LOOPS IN A NEW STUDIO FEATURE
STUDIO DUBROOM NEWS

WWW, September 2014 - Attention (DUB) Reggae producers and other visitors/users of Studio Dubroom: a brand new feature in the studio will provide you with over 560 Mb of free, legal, fully licensed high quality (DUB) Reggae Samples and Loops. We're talking drums, bass, guitars, horns, vocals, Dub effects and everything else you can think of in the field of the production of (DUB) Reggae Music.

It's called "Digital Dignity" and for a reason. There are too many online (DUB) Reggae artists that make use of jingles, loops and samples from well known or lesser known albums. For non-commercial productions that's quite a common practice but it will not lead you as a producer to the ability to release your music commercially. It's a common practice, but it doesn't really do anything else but make people think of the original.

Yes, it is better to get some dignity in your productions by getting some dignity for yourself: over half a gig of that material is waiting for you in our brand new Loopmasters (DUB) Reggae portal.

So what did we do and what can you do?

First, we've gathered all thirty (DUB) Reggae products that come with a demo file from the Sample Boutique and -second- created a page for each release. From that page you can directly download the Demo file attached to the product. You'll have to be registered and logged in to the Loop Masters website, but since that is a free thing and can even provide you with more goodies, registration at Loop Masters will not hurt you at all.

We are talking about samples and loops by Ariwa studio, Jesse "Dubmatix" King, the heavyweight champions at Drum Drops, and a lot more. A large part has authentic vocal loops and samples, but you can find some nice horns and other material.

Read the introduction page and start downloading. When you have a reasonable fast Internet connection, about 15 minutes of your time will deliver you a very valuable addition to your Sound library.

This is not a collaboration between Loop Masters and the Dubroom, this is the sole decision of the Dubroom and it is done out of a genuine appreciation with the good quality, service and prices at the Sample Boutique.

CLICK HERE VISIT THE PORTAL

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

noreply@blogger.com (Dubroom) — Sun, 14 Sep 2014 15:36:00 +0000

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.

CLICK HERE TO READ FURTHER

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

noreply@blogger.com (Dubroom) — Sat, 13 Sep 2014 15:34:00 +0000

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:

CLICK HERE TO READ FURTHER

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

noreply@blogger.com (Dubroom) — Fri, 12 Sep 2014 14:46:00 +0000

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.

CLICK HERE TO READ FURTHER

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

noreply@blogger.com (Dubroom) — Thu, 11 Sep 2014 14:01:00 +0000

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.

CLICK HERE TO READ AND WATCH AND LISTEN FURTHER

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

noreply@blogger.com (Dubroom) — Wed, 10 Sep 2014 13:48:00 +0000

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.

CLICK HERE TO READ, WATCH AND LISTEN FURTHER TO CHAPTER 25

Making Dub With Compters Chapter 24: Sub Mixes

noreply@blogger.com (Dubroom) — Tue, 09 Sep 2014 16:48:00 +0000

MAKING DUB WITH COMPUTERS CHAPTER 24: SUB MIXES
STUDIO DUBROOM DOWNLOAD

WWW, September 8 2014- Continuing our preparation for the first Dub session. This chapter deals with sub mixes and why they are a good option.

On top of that, you'll find a number of downloads that will help you further.

CLICK HERE TO READ, WATCH AND LISTEN FURTHER TO CHAPTER 24

Making Dub With Computers Chapters 22 and 23: Concluding MIDI, Talking Software Requirements

noreply@blogger.com (Dubroom) — Mon, 08 Sep 2014 13:26:00 +0000

MAKING DUB WITH COMPUTERS CHAPTERS 22 AND 23: CONCLUDING MIDI, TALKING SOFTWARE REQUIREMENTS
STUDIO DUBROOM DOWNLOAD

WWW, September 8 2014 - A Couple of days ago, I published chapter 21 of my Computer Dub Tutorial and today I offer you two new chapters, one of which you can read in it's fullness on this page. We're concluding the MIDI part, the phase wherein we make an instrumental Reggae track because if you don't have that, well, you can't make (a) Dub. We're taking a look at what kind of software you need, and a little bit at hardware too.

Since you are reading this, you're probably visiting one of the Dubroom's blogs or the forum. That could mean you are waiting for chapters to be added. I'm sure you don't mind me writing a few personal notes before I paste chapter 22 and a part of 23 into this post. The fact I receive a lot of positive feedback from producers all over the world lately makes me humble once more, as I realize how much more I should add, and -Jah Willing- shall add chapters. I do take this serious, even though I am aware that the things I know in themselves are in it's turn a fraction of what people like Mad Professor know.

One good thing about this tutorial, is the fact that it is located on the Dubroom website. I only post fragments of chapters because the tutorial really needs to be studied from the pages. As I'm working on new chapters, I equally look at the older ones and I plan to add a lot of extra information as time progresses. I also now have the possibility to record video and audio from my computer screen and sound card, which I am sure will be most helpful when we will finally arrive there, where it's all about: the DUB.

All that said, here's the latest additions to the tutorial:

PART 22: MIDI (12) - THAT'S WHY MIDI

In the previous chapter we added the last instruments to our instrumental Reggae track. A track, we created with the use of the MIDI protocol. En passant we've been taking a close look just how a Reggae rhythm is constructed, how you can find a good bass line with your chords or vice versa, and a whole heap more. We're into the 22nd chapter, and actually all we have been doing is laying a ground work for future Dub projects. All we have been doing is creating an instrumental Reggae track with total disregard of any sound balance, and so the track sounds awful. That's what we're going to be working on in the next few chapters.

When I started to write this tutorial I was dealing with like the first generation Audio cards that needed quite a specific set-up. I remember that I had to physically open my computer and change things so that two sound cards could work on one computer, even. In the same time, the way I made my Dub was totally different in these times. It would take me over 5 minutes to create just one echo.

When I discovered Propellerhead Reason, my working method completely changed. What did not change was the fact that I made my instrumental Reggae tracks with midi (and a few audio loops). In spite of all the developments, what has not changed in making Dub with (or without) a computer is the fact that you'll need something to Dub and usually that would be an instrumental Reggae track, or a multi track recording of a Reggae track with, let's say, vocals on them.

So, in a way, it's very good that it took such a long time before we're actually in this part of the tutorial. I don't have to introduce you to a working method that requires more than patience, self control and what have you.

We will still be using the MIDI protocol throughout the entire tutorial. It can't be different, because what we have been doing by creating the music is the very same thing what we will be doing when we're actually in the Dub phase. After all, because of Midi we can give instructions to not just a keyboard, but a mixing board, effect devices and all the things we'll be using. Because of MIDI we can make Dub with computers in the first place.

However, it is time to make some closing remarks about this segment of the tutorial. We have been creating an instrumental Reggae track, even though it's not the next Reggae world hit. You now know why MIDI is a very important part in the creation of music, any music. You know now how to make your own instrumental Reggae track.

We now have to use this track and turn it into a Dub track, something we'll be doing in the next chapters.

PART 23: CREATING A SET UP (1): SOFTWARE REQUIREMENTS

Now that we have our instrumental, you could say that we have a multi-track recording. We have several different instruments all playing their musical part over their own channel on the mixing board. By putting one instrument louder than the other, you create a mix. By adding effects like delay and reverb to the mixing board, you're ready to make a Dub.

In short, that is.

To create the instrumental track we've programmed in the last chapter, I have been using Reason 3.04. Now, in September 2014, this is a rather dated version of the superb software by Propellerhead. Add to that, there is software called Ableton which I have started to look at in this year as well but about which I know close to nothing. Add to that the countless other titles in music software, and the -often totally irrelevant- question which software to use, and you have a problem when you're writing how to create Dub with computers.

The software.

Let me describe just what I'll be using Reason 3.04 for in the next chapters, in more general terms. This will not just enable you to go along in this tutorial as you make a set up in your favorite software title, it will enable you to obtain the right software in case you are wondering just what to use. Since the version of Reason I use is not the latest, I suspect that there are a lot of titles that will give you the features required for this tutorial. Probably even free titles. When you know of a few, let me know and I'll add them to this tutorial somewhere.

In short, what you need is a title that enables you to simulate everything you would do when you would have a physical studio with hardware. You want to have a mixing board with instruments and effects devices attached, at least four aux-outputs, and you want to be able to change any setting on any device at anytime. This is called "automation".

Here's a check-list:

CLICK HERE TO READ, WATCH AND LISTEN FURTHER TO CHAPTER 23

Making Dub With Computers Chapter 21: Reggae Percussion, Clavinet and the Pucking Guitar

noreply@blogger.com (Dubroom) — Fri, 05 Sep 2014 20:50:00 +0000

MAKING DUB WITH COMPUTERS CHAPTER 21: PERCUSSION, CLAVINET AND PUCKING GUITAR
STUDIO DUBROOM DOWNLOAD

WWW, September 2014 - Slowly but steadily, we're progressing with the unfinished tutorial on making Dub with computers. In chapter 21, we'll take an in-depth look at Reggae percussion, and the clavinet and the pucking guitar. This is the final chapter about midi instruments, by the way.

Chapter 21 is huge. Huge, in the sense of long and in-depth. It has several download links, a You tube video, screenshots and audio examples as we dive in especially Reggae percussion. It's a chapter where the function of the hand drum and other percussion instruments are explained while principals are revealed as well. We're also adding a final touch to the music by taking a look at the clavinet and the pucking guitar. This is a chapter for the serious scholar, not for ones seeking to click their own supermix in a quarter of an hour.

CLICK HERE TO READ, WATCH AND LISTEN TO CHAPTER 21