20 Questions to Alpha Steppa

Your name: Alpha Steppa
You live in: France
Title of your last album: Raise The Ark

What is your personal definition of dub?

It stems from a style of mixing pioneered in Jamaica and became a genre of music in its own right. At the core, it is drum and bass with life and soul woven in via the hands of the dub mixer. It's magic.

What makes a good dub?

Space, bass and texture.

Which aspects of dub music fascinate you the most?

I love the spontaneity, the freedom and the experimentation.

How did you discover your passion for dub and how did you develop your- self and your music since then?

My dad taught me how to mix dub from a young age. I developed through incorporating all my other influences in life and music into my dub.

What does the process of creating a typical dub track look like?

You need a spark; a vocal line, a bass line, a sample, a melody, percussion, a feeling ... something to ignite the idea, then get out the way and let the track build it- self.

When you are satisfied with a dub track you produced?

When I feel it drop and the crowd rise in a dance.

What is your special strength?

I have no need to fit in. This frees me and my music.

Which one of your albums do you consider your best work up until now?

Raise The Ark

Are you able to make a living with music?

Yes, I live a simple and happy life so don't need much.

What aspects of your job do you enjoy the most?

I love to create. And it pleases me to know it brings joy to others.

What do you dread in the studio?

When I forget to drink my tea and it goes cold.

When you're not working on dubs, what is your favorite thing to do?

My hammock.

What do you listen to besides dub music?

Folk, hiphop, trap, trad, blues, classical

If money and time didn't matter: Which project would you like to realize?

Money and time doesn't matter. But I need a new septic tank. I'd also like to develop a community where people could come to develop new ways of sustainable living and practice self inquiry.

Are there any sound system events that you particularly like to attend? Why?

Jah Shaka, always and forever the greatest, deepest and most mystical sound system experience.

What do you prefer: Studio work or sound system performance?

I love both. But if I had to choose one, creation is paramount, so studio would win.

Whom do you consider the greatest dub artist of all time?

My dad and aunt (Alpha & Omega)! Haha

And who is currently the most interesting dub artist?

Currently the most interesting dub artist is YahYu

Which sound system do you value the most?

Jah Shaka

What are your personal top 5 dub albums?

A&O: Voice In The Wilderness
Jonah Dan: Intergalactic Dub Rock
King Tubbys: Meets Rockers Uptown
Upsetters: Black Board Jungle
Scientist: Rids The World Of The Evil Curse Of The Vampires


Interview with Daniel Jäckel (Wortfetzen MC)

Daniel supports, as an integral part of the Hibration and I-Revolution sound system, Hamburg Dubscene with his singing and speaking parts, the so-called toasting. In the interview he talks about the possibilities to act creatively, critical topics within the scene and his experiences in Jamaica.

What were your first points of contact with Dub and sound systems and how did you get into toasting?

Daniel: I have always wanted to articulate myself creatively. When I was 15 I tried to write my own rap lyrics and then practiced them in front of the mirror. At some point, however, I realized that there were no beats in the village where I grew up and I couldn't produce any myself. Writing poetry somehow seemed like the closest thing to rapping and that's how I got into poetry slam. On countless afternoons in the park many years ago, a very good friend just gave me his guitar and showed me two chords. I really wanted to learn this instrument in order to accompany me while I was singing, which I also really enjoyed doing besides the poetry slam.

Musically I was definitely influenced by an evening in a club in Prague, where Dubstep was played. I didn't even know this music and especially the ragga / jungle floor was so electrifying that I danced along wildly. When I moved to Hamburg in 2010, I was naturally looking for something similar here too. When the Dub-Band Zion Train in the harbor sound five years ago I couldn't hold back and jumped around like a rubber ball. With the sound system, of course, I came across the port birthday sessions and the events of the Dubcafes in the red flora in touch. Since there was always a microphone lying around there, I dared to use it and quickly replaced the guitar for me personally. At first I wasn't very tried, but I still got great vibes. Last year, through my appearances at Local Sounds here in Hamburg and even all the way down to Munich, I felt there were more events than there are weeks in the year. I remember when I first became aware of the music, there were maybe four events with 15 visitors, and now several are taking place every month.

So you seem to be in Hamburg Dubto be very firmly involved in the scene. How would you specifically describe your role or your function?

D: I think I'm only gradually finding this role myself. In principle, the role that I take on the microphone is to be seen both in the form of vocals and a bit as a medium between the audience and the people who put on the music. In addition, I describe myself as an activist, sound system activist. Setting up boxes and doing these sessions, I think you can give the world something good with that. To create a breeding ground for something that is good for this society. Just at Dub at this volume, there is something inspiring about it, somehow gives strength on an emotional level. I think “Roots & Culture” is a term that I associate with a lot Dub and sound system. Roots would be this term that covers the fact that this music describes where we come from and who we are in this world, a conscious music or a music with consciousness. Culture as the other part of the whole means you can create a kind of culture, a good breeding ground for culture.

A culture where everyone can bring in what they want.

Do you talk a lot about culture, especially creating your own new culture?

D: Yes, a culture where everyone can bring in what they want, a very open space. Creating is one aspect, although I don't think it's just about creating a culture. Rather, to create a situation, because I think we actually all have a culture. But you can only live this out in certain situations in a special way and the sound system dance offers an ideal situation for this. In the end, I think that we already have everything we need, you just have to give people the opportunity to live it out.

So on the one hand the reinforcement of certain positive aspects; Do you also address critical issues during your performances?

D: You know that at events where people go at night to have fun. There is certainly breeding ground for things that are not so good, sexism or sexual harassment are examples. Such issues can be addressed in a peaceful manner, and when they happen, it is of course out of affect. In addition, there are political, social or personal things that you can talk about in general, so I think about what I want to say in advance. I bring issues that concern myself to the outside world.

Since you are talking about sexism: A topic that is also criticized in connection with reggae, Rastafari and Jamaican music is the accusation of homophobia.

D: I think when it comes to these critical issues, it is good to talk openly about them without putting the devil on the wall: If there is something, if you are being molested by sexism, you will not be left alone with it. I don't even want to give homophobia the space as something that I don't approve of and where, musically, I really don't know what it is doing in this music. Although this topic is of course a problem for society as a whole, which unfortunately also finds expression in this scene. These problems should also be seen everywhere they take place and where they are approached. I believe that exchange is the right way to go and that there are people with whom you simply don't meet.

I have just been back to Jamaica for a few weeks, where homophobia is also an issue and homosexuality is even prohibited by law. I think the cultural background has to be understood, but promoting this way of thinking is wrong, a line should be drawn. However, we have had many discussions in our society that did not take place in Jamaica, regardless of the cultural and historical background. I can also imagine that many Europeans and people from other parts of the world who go to this island because they love what happens there, because it has inspired them and because they find themselves in it, share a lot of their attitude towards there bring there. I think the people who listen to reggae here are not very sexist or homophobic. They see this rather critically and react very sensitively to it, bring such topics into this society and sensitize them in a constructive and positive way.

I take issues that concern myself to the outside world.

Another topic that toasters and singers like to address in this music is Rastafarian. Apart from the negative elements that we just mentioned, do you bring the more positive elements from them into your texts?

D: Definitely the term Babylon, that's an integral part. Although I have to say that I'm not a Rasta. I do believe that there is more than we can see, understand, know, calculate and describe. But I am critical of religions when things are forming and organizing. Rastafarian has elements, like other religions and philosophies, that make sense to me. What I really appreciate about it, for example, is that this religion created identity in the time after Jamaica's independence, which was very important. In addition, this religion brings issues into society, such as awareness and spirituality, but also conscious and healthy nutrition and an ecological lifestyle. I have great respect for this belief and this culture.

Chanting and talking in the Jamaican Patwah is also common. How do you feel about the accusations of the cultural appropriation of this language by “whites”?

D: Of course, if that's someone who feels that way, I can understand. True to the motto: The guy has now heard reggae and is simply parroting the language. But my experience in Jamaica was that people celebrated that when I used it while toasting and singing and I don't think they took that as a disrespect.

You just said quite nicely that some people go to this island to find themselves. Did you find yourself there? What experiences are you richer by now?

D: I definitely found myself in reggae. Since I like making music and being creative, reggae showed me the meaning behind it. That feeling was reinforced in Jamaica. Our recording of one was a very nice experience Dubplates in the studio. In addition, I was able to meet many great people, taste delicious food and enjoy the beautiful nature. What was really unique was that when looking into the jungle, due to the density, I couldn't see two meters far.

How is it going Dub in Jamaica?
D: Often stands Dub as the headline for the events, but that's not that Dubthings we do here. I think there were very different developments when the music came to the UK from Jamaica. Dancehall is definitely very present there, but also a lot of roots and rub-a-Dub. Definitely good music.

Dub for me is: musical, interpersonal, cultural, spiritual.

“Different things than we do here” - what is Hamburg doing Dubscene for you?

D: As I said, there used to be very few sessions and over the years the number of events and sounds grew. I talk to people in sessions, including those who support all of this. A lot more people want to be active in the scene. What is also an important point in character is that when we put on a dance, we have to take care of everything ourselves. We don't go anywhere, play our stuff and leave. We have to take over the whole fucking place. Build the infrastructure, equip the bar, occupy the door. Building up is one thing, doing it and then dismantling it. That's why I'm doing it, that's why I'm there, for the dismantling (laughs). A lot of work, but you get the opportunity to do everything yourself. A lot happens here in Hamburg, both in front of and behind the sound system.

Finally, the standard sentence for you too: Describe Dub in one sentence?

D: After my formative Zion Train event at Hafenklang, I read a quote: “Instrumental psychedelic reggae”. For me it is a lot more than that: musically, interpersonal, cultural, spiritual.

Interview from 17.05.2019


Interview with Raphael Alberti (Lazer Fennec)

Raphael, Dub- and Disco-Selector from Hamburg, according to his own statement, is "still pretty fresh on the scene." Dub, addresses sexism and homophobia in the scene and the volcano in his head.

Do you remember when you first met Dub came into contact?

Raphael: I grew up in Ulm, my brother was in a crew that played reggae and dancehall. That was when I first became aware of the music, for example I also attended the Chiemsee Reggae Summer Festival in the same year. Through my brother I got to know a lot of different music in general: Wu-Tang, Nirvana, System of a Down ... Dub wasn't so present for me at the time. And so I started with my record collection at first very wildly mixed with rock classics and things like that.

Do you remember your first record?

R: That must have been an album by the White Stripes so close to 2010 graduation. At the time my brother in Stuttgart shared a flat with drum 'n' bass and Dubstep DJs and I remember that one evening the "Dub Echoes ”document was running. I thought it was so good that I had to get the soundtrack straight away and put it on at the next flat share party. A live concert by Lee Perry finally made me think: Wow, Dub is that thing! 
Some DubI went to events in Offenbach and Darmstadt, first as a photographer and, after I got to know the guys from the Rebel Lion Soundsystem, as a selector and at some point I was part of the crew. From 2012 we organized regularly for several years Dubparties in the Oettinger Villa in Darmstadt, that was a really nice location. As a result, we already hooked the people in the Rhine-Main area with music.

Did you then also inspire other crews to do something?

R: Yeah, at least that some crews do more Dub who previously preferred roots to the set. Peifensound from Wiesbaden, for example. But the Rhine-Main area with Frankfurt as a metropolis has unfortunately not managed to set up a proper sound system until today, somehow that never represented the center for this type of music.

Was that perhaps the reason why you moved to Hamburg at some point?

R: No, that was more because our Rebel Lion sound system broke up a bit for various reasons, because of moving and children and that sort of thing. Mainz, where I lived at the time, was just too small for me at some point. I then quit my studies and moved to Hamburg to do an internship at Backspin Hip Hop Magazine.

So did hip hop always play a role for you?

R: Yes fully. But I also knew that I was in the Dubscene wanted to be active here in Hamburg. First I had the Hibration sound system in mind, but then decided on I-Revolution.

Dub is just full of the nerd. Reggae for nerds. Smoking nerds who like bass, that's this one Dubscene.

You are currently known from I-Revolution, how did the connection come about?

R: I first went to some of the parties in the T-room at the university. At some point when the university was occupied, they looked for people to hang up via a Facebook group. I felt like it and just went there with my records. That sparked immediately with the guys both musically and personally. That was in April 2018 and since then I-Revolution has been kind of going downhill: we held open airs and a few parties in the Gängeviertel.

How are you currently positioned at I-Revolution?

R: I-Revolution just consists of seven DJs and a lot more people in the background, without whom it just doesn't work. We also build a lot ourselves, for example sirens and amplifiers. Dub is just full of the nerd. Reggae for nerds. Smoking nerds who like bass, that's this one Dubscene.

The problem is sexism Dubscene not resolved either.

With all the fun, you also notice the clear political orientation. For example, if you look at the event texts on your Facebook events, you will always find announcements against sexism and homophobia - topics that are often criticized in Jamaican music. Do you think that there is a greater awareness of such issues in the scene?

R: The DubThe scene in Germany and Europe is definitely very left-wing, just because of the event rooms, such as autonomous centers or occupied houses. But the problem of sexism is in that Dubscene not resolved either. Just because fewer lyrics are used in the music and therefore there are no problems with critical statements, there are still points, such as the gender ratio, that you can definitely work on. Most crews are made up of guys, which might be related to this nerd culture. I think music and subcultures are mostly shaped by males, nerd cultures as well, when both come together, it doesn't get any better. Taking my experience with the people who are new to the world DubThe coming scene is that many feel very comfortable, many women also say that it is simply relaxed at the events.

Do you have the feeling that the left-wing issues mentioned were only noticed through your involvement in the scene?

R: I think we didn't make it an issue, it has always been that way. So when I look at Jürgen Becker alias Crucial B here from Hamburg, for example, who started in Hamburg 26, 27 years ago, and his crew has already set up events in the T-Stube or carried out squats. I think it was in the 90s Dub a protest muck anyway, because there was a connection to punk, especially in England. There are certainly some about punk too Dub come, that's why the left-wing scene character. But of course it's difficult, you never know when you're putting on tracks, even if there are no explicit homophobic or sexist lyrics in them, what makes the performers tick. Maybe that's one of the reasons why many left-wing people are in the electro scene because they think that no lyrics mean no homophobia and no sexism. In the Dubscene and in other music scenes there are also oldschoolers who say that everything was better in the past. I think the Dubscene also needs a bit of humor. Reasons why it's so difficult to get into the scene. A relaxed but also closed circle. 

Regarding the closed circle: do you think that there is cohesion within the scene, also across regions, for example?

R: Yes, you can travel all over the country, you always meet someone you know. I also wanted to go to France this year to take a bit of the scene with me. Whether it's a big event in Berlin or a small festival on a sheep pasture in northern Hesse, which I went to two years ago. With pony rides for the children and homemade ice cream, the family reunion is full. It's really nice in the scene, you help each other. We also saw the guests who help out at the I-Revolution outdoor sessions last year. A lot of people lend a hand and don't just go home. Many also feel like doing door shifts, for example, that's all good support and networking.

It all sounds really nice, when someone is so outside and wants to be part of, how could that work?

R: As a complete outsider, I think that's difficult, so you have to celebrate the music. At the moment, however, many of the audience are from the electro scene, you can tell by the way people dance. I think some are bored of the same events there in the scene and especially steppers Dub it has similarities with techno, it's dance music.

Your events are always packed.

R: Yes, and above all there are a lot of kids there. You can tell that they are more socialized on techno and then shuffle to steppers (laughs).

So do you think that everything has a future?

R: At the moment the scene is doing pretty well, I think. More and more sounds are being created and work is being done in Germany to set up larger festivals, for example in Münster, which are already heavily equipped with sound systems and Berlin too. Even in southern Germany.

Since we were talking about your always packed events, how did the connection with the Gängeviertel come about?

R: Jimmy, who is also active in our sound system, knows someone there. I think what gave us a good boost in autumn was that we set up our monthly event relatively quickly after the Gängeviertel birthday. Then the Gängeviertel also shared our event on Facebook. On the first evening already 500 confirmations or interested parties and a total of 3000. That went on with the second event. In the meantime it has normalized again to around 700. At the last party we had to stop after three hours. It's really tough, let's see how the whole thing continues in the Rote Flora.

I especially like music that is visual, creates soundscapes and Dub is just ideal for it.

I also wanted to talk about your selections, which are always very diverse: you play Dub, Funk, Soul, Afrobeat, Hip Hop, where does that come from?

R: I don't really know, it is always difficult for me to stick to one style when DJing, which sometimes upsets me when I switch back and forth in such a confused way. I especially like music that is visual, creates soundscapes and Dub is just ideal for creating something like that. But sometimes it is like this: how slow and how weird can that shit be that I put on and I try to get out of the ordinary and not just play hits.

M: Now you've moved to the Flora for the next event with I-Revolution, are there any further plans for 2019?
R: I would like guests and outdoor sessions, maybe here at the Veddel, bridge party or something. So the campus is also a cool location for that, but maybe the cops won't come here so quickly (laughs).

M: In conclusion, describe Dub in one sentence?

R: If I may quote King Tubby: "Dub is a volcano in my head ”. That's it. 

Interview from 26.01.2019


Interview with Paul Zasky (Dubblestandart)

Your name: Paul Zasky
You live in: Vienna and Los Angeles
Title of your last album: Dubblestandart meets The Firehouse Crew Reggae Classics

Tell me a little about yourself.

I would basically consider myself the driving force behind all of the issues Dubblestandart and soon The New Blade Runners Of Dub describe. BUT, I am nothing without the crew, I use to say. Ali, our man on the trumpet, who is with House Of Riddim, and Robbie Ost are my backbone without them, nothing works. In spite of the difficult existential conditions for a band like ours, they have been keeping my pace for decades. You have to bring that up and I respect and appreciate that very much. That is something that you cannot hold together with money, that is a spirit that is there or not.

At the beginning of the 90s I was part of the original community of musicians here in Vienna, who are interested in sound, post new wave, psychedelic, early electronic music and then soon Dub & Reggae. We had and still have the rehearsal room (it was also our first studio) opposite Flex, the most important club in the Viennese universe for us at the time, where Suga B, Gümix & Sweet Susi Dub and played all of its varieties - from 1990 onwards.

Many people and musicians came and went with us. Most of them had good ideas, but there also had to be someone who would put them into practice and make sure that music was created that could be pressed onto a record. That's why I'm going at some point ...

Robbie was always the man behind the machine and after I had mixed the first couple of albums in the 90s myself (on 4 and 8 tracks), he took over and switched to hi-tech.

I was also always responsible for the contacts to labels, booking, promo, etc. and traveled around the world between Vienna, New York, LA and Kingston. I got to know a lot of people, from which many friendships and collaborations have developed over the years.

In Jamaica in particular, my good friend Devon Denton opened a lot of doors for me, too Sly & Robbie, Ken Boothe, Dillinger, of the Firehouse crew etc. Nicolai from Echo Beach met us with Ariup, Adrian and the OnU-Sound Posse brought together. David Lynch I just mentioned it after our show at the Elysee Montmartre in Paris at the opening of the exhibition. There are still many examples. I am very grateful to many people.

What is your personal definition of Dub?

Landscape painting with sounds.

What makes a good one Dub out?

To create an atmosphere that inspires, where acoustic fantasy worlds emerge and at the same time special attention was paid to the "distinct" rhythm, its mix and the detailed sound processing.

What aspects of Dub-Music do you find most fascinating?

That it is an open style spectrum and enables a lot.

How do you have your passion for Dub and how did you discover yourself and your music?

When I was around 16 or 17 years old - in the mid 80s - I got myself Taxi gear: “The Sting” and “A Dub Experience ”from Sly & Robbie Bought in the then “Hand In Hand” reggae shop in Vienna. The crew there were Rastas from Kingston and Addis Ababa and a bit cooler and more relaxed than the rest of the city. They also had a lot of specialist knowledge of the productions at the time, sales and the international scene. That fascinated and attracted me. Shortly afterwards "Megaton 1" from Lee Perry. I was fascinated by the pushed bass and drum lines as well as the psychedelic flanger and phaser loops on the sounds of Lee's 8-track productions. Shortly afterwards I have the Singers & Players and Creation rockers discovered on OnU-Sound and that's it. Dub For me it was the logical further development of everything that had interested me musically until then.

How does the creation process of a typical Dub-Tracks from you guys?

Usually some groove or bass line is buzzing around in my head long before we do a session with the band. At some point we go into the studio and build instrumental live sessions on that. Then there are new ideas from the rest of the crew. Then we select the jams and play the best-offs precisely with a click.

The time after that I spend with Robbie in the studio where the actual tracks are created. Often it takes a completely different direction than the session. Every now and then we bring the guys back for single oversdubs or do collaborations with artists. All keyboard parts, analog synth sounds, samples etc. are done exclusively by Robbie and I, as this defines our sound. To that extent is Dubblestandart is a two-step project: Robbie and me and the band are producers who then implement this sound live, but who are also responsible for the original soup in the creation process.

Before there is a mixdown, we work on the sound and arrangement for a long time. Before a final version, we work on the sounds, effects, the actual sound of drums and bass, as well as real and electronic instruments. For me is a Dub not the freestyled live mix of one version. For me is a Dub a complete independent song with voices, sound samples and real world noises, which follows its own structure and dramaturgy. Robbie then often draws from these very concrete soundscapes Dubs for vinyl decoupling, etc.

When are you with one of your produced Dub-Track satisfied?

I produce them Dubs never alone. If we both say it is, then it is. In words not 2 be defined.

What about producing Dub most importantly?

Authenticity. There are no laws in making music. There is just pigeonhole thinking. But music is free and that also applies to ideas. People should trust themselves a lot more. I would like future generations to be more willing to experiment.

What is your particular strength?

I'll stick with it, especially when it gets uncomfortable.

Which album do you think is your best?

"Immigration Dub"," Marijuana Dreams "and"Dub Realistic ".

Can you make a living with music?

No, it never has and probably never will. I keep my feed on the ground. What I earn with music, I reinvest exclusively in productions.

What aspects of your job do you enjoy the most?

Making music is neither a hobby nor a job. At some point you start with it and it becomes the most important thing in your life, around which you build everything: relationship life, family, money business.

What do you dread in the studio?

Time pressure and when there are too many people. It's distracting.

When you're not at Dubs screwing, what is your favorite thing to do then?

I am involved in one or the other cultural project, in autumn I will also start as an actor in a theater production, a little deejaying, and also deal with AI and psychotherapeutic topics. Also started a new band project in LA.

What do you hear besides Dub?

Alternative music, reggae, electronic music, drum 'n' bass, industrial, downtempo, hip-hop, avant-garde, jazz, singer song writer.

If money and time weren't important: Which project would you like to realize?

"Sade in Dub"And" Nine Inch Nails in Dub".

Are there any sound system events that you particularly enjoy attending? Why?

Currently corona-related nada. Otherwise everything that goes with bass music is usually very cool here at Fluc in Vienna! Otherwise: Subaudio, Basstrace, RAW, Donnerdub, Treasure Isle, the legendary Dub Club in Flex back in the day. Truly missed!

Which do you prefer: studio work or sound system performance?

Studio work, then live performance with the band, then Selector at a Sound System. So is the order.

Who is the greatest for you Dub-Artist of all time?

Adrian Sherwood

And who is currently the most interesting Dub-Artist?

Year 9

Which sound system do you like the most?

Jah Shaka and OnU sound system.

What are your personal top 5 Dub-Albums?

Dub Syndicate: "Stoned Immaculate"
Sly & Robbie: "A Dub Experience "
Burning Spear: "Living Dub Vol 1 "
I-Roy: "Dread Baldhead"
Lincoln Sugar Minott: "Ghetto-ology Dubwise "


21 Questions to Paolo Baldini DubFiles

Your name: Paolo Baldini DubFiles
You live in: Pordenone, Italy
Title of your last album: "Dolomites Rockers"

What is your personal definition of dub?

Dub is a technique. A technique which, in its original form, allowed to transform a song into a dub version, a new psychoacoustic experience. A technique with a permanent link with reggae music, but now also declined and applied to all genres of black music.

What makes a good dub?

Two things, basically: a song on a good riddim and an inspired dubthe master.

Which aspects of dub music fascinate you the most?

I was amused by the transformational process that a song undergoes when it becomes a dub version. And before understanding the mechanisms behind these processes I was impressed by the role of bass and the feeling of space-time modification. Moreover, this technique transformed exclusively technical equipment into creative and artistic instruments turning the sound engineer into the Dub Master. That is to say, the person who has the power to regulate the emotional tension of a version.

How did you discover your passion for dub and how did you develop yourself and your music since then?

I was a lucky teenager because the Rototom festival started in a place very close to my city and I started attending it from the first edition!
I discovered that world first as a spectator and only then as a musician. Basically I am an underground reggae musician who, exploring the possibilities that home recording offered in the nineties, became a producer. Step by step.

What is the most important factor when producing dub music?

The separation of the tracks of a song, an analogue mixer, and a few aux. And the endless combinations thereof, which is eventually what constitutes the studio of a dubthe master.

What does the process of creating a typical dub track look like?

If it's a version, I firstly rebuild the original settings of the multitrack session of the vocal cut, and when it sounds good, I start selecting a few outboards and effects that I think fit the tune. I then press "record" and do a number of dubsee Only the best survive.

Dub is a technique, which, in it's original form, allowed to transform a song into a new psychoacoustic experience.

When you are satisfied with a dub track you produced?

I'm satisfied with a version I make when, listening to it again, I get lost in it and I can't trace my actions back.

What is your special strength?

I don't know ... Maybe being incline to auto-suggestion.

Which one of your albums do you consider your best work up until now?

Always the last one! But I like being influenced by those who hear and choose them.

Are you able to make a living with music?

Respectable survival.

What aspects of your job do you enjoy the most?

All of them. For real!

What do you dread in the studio?

Current drops? Or maybe my son ?! Jokes aside, I have a lot of analogue equipment and I fear the wear of tubes and condensers. Especially in the mixer.

I was a lucky teenager because the Rototom festival started in a place very close to my city and I started attending it from the first edition!

When you're not working on dubs, what is your favorite thing to do?

When I'm not busy with my family I have several safe places where I regenerate. One of these is astrophysics! When I have time, I go to the mountains.

What do you listen to besides dub music?

Any form of Jamaican music. From calypso to dancehall. I recently re-discovered space music and ambient electronic music.

If money and time didn't matter: Which project would you like to realize?

I had so many ideas that I stopped thinking about it. Let's say I'd try to invest on my label La Tempesta Dub to release more material.

Are there any sound system events that you particularly like to attend? Why?

The Dub Academy at Rototom Sunsplash and the International Dub Gathering. I grew up at Rototom.

What do you prefer: Studio work or sound system performance?

Both. One necessarily feeds the other.

Whom do you consider the greatest dub artist of all time?

Could anyone you know not answer King Tubby? They would need a good reason not to.

And who is currently the most interesting dub artist?

There are countless artists who interest and inspire me. I think I could give different answers to this question depending on the time of the day. Iration Steppas are a must in terms of sound system rituals. Dougie Conscious is a big inspiration when it comes to studio mixing… Mad Professor and Adrian Sherwood are a beacon when it comes to using effects. Prince Fatty and Victor Rice are a true inspiration as far as acoustic recording and tape are concerned ... And I think OBF are the most interesting crew at the moment.

Which sound system do you value the most?

I have a rock-solid bond with Imperial Sound Army.

What are your personal top 5 dub albums?

5. Scientist: SCENTIFIC DUB
1. King Tubby & Barrett Bros: PICK A DUB


Dub Conference on Echoes Beach

Echo Beach - the hamburger Dub-Label turns 20 years old. 1994, at the height of the UKDub founded, it is not only one of the longest serving today Dub specialized labels, but is also likely to be the most productive in the world. Reason enough for us, with label founder Nicolai Beverungen and proven Dub-Specialists about Dubto philosophize about its developments and trends and last but not least about the fascination of this music.

Nicolai Beverungen: I came to reggae through punk, then worked for the now faded record company EFA as a label manager for On-U-Sound. When I left EFA in 1993, I wanted to publish a CD that would look back on the last few years of my work. Only one came for me Dub-Compilation in question, because that was the sound that excited me the most. This then results in “King Size Dub Vol. 1 ”, which was presented by Spex. That was a good start in 1994 for my label "Echo Beach".
Why I'm still there after twenty years is probably because the label concept "Dub“Is so open. If I just focus on rootsDub concentrated, then I would probably be the postman today. But I was always open to other influences. Take, for example, “William S. Borroughs in Dub“Which recently appeared on Echo Beach. Every Jamaican would ask: “What does that mean? Dub to do"? But that is what is most interesting for me.

Markus Kammann: I come from the club scene. In the eighties I founded the Beat Box in Wuppertal, the first ambitious club that existed nationwide. But at the same time I've always been a musician, which very few people know. Back then I often went to London to buy records for the club. After the records were on in the club, everyone wanted to buy them. So we thought about starting a record store. That was Groove Attack. Today I am producing crazy Dub under the name Robo Bass HiFi.

Thomas Hoppe: I represent the handmade music here, from the band side. I'm the drummer for the Senior Allstars. With the band we have that Dub gradually approximated. We had him with us from the start, but he has become more and more important to us. That Dub Today the main element is also live on stage, we hadn't planned on it. That's how it turned out.

Felix Wolter: Just like Nicolai, I come from the time when punk and reggae had a liaison. I felt strongly influenced by Adrian's On-U-Sound as the Londoner Dub closer than Jamaican reggae. I only really got to know, love and appreciate him over the years of my active career with the German reggae band The Vision. I'm next to my TVS and Dubvisionist projects in the related downtempo (PFL and Chin Chillaz) and work in our company Time Tools Recordings on the compilation of compilations in the lounge, downtempo and house area, which we offer for download worldwide. I love studio work and a balanced sound.

René Wynands: I discovered reggae at the tender age of 15 when I bought my first Bob Marley album. I had read that it was music with a lot of bass, which was obviously an important reason to buy for me even then. Dub For the first time I did “LKJ in Dub"Heard and with the album" Pounding System "from Dub Syndicate only really understood. After that I have everything on Dub bought, which I could get hold of. Today I look after them DubPage in the riddim and write with the a small German-language blog about my favorite music.

My definition of Dub

Rein: We want over our favorite music, over Dub speak. But what is Dub I agree? A genre? Even a sub-genre? Or is it a universal production technique that can be applied to any style of music? Is Dub so very small and sharply defined, or is Dub the exact opposite: big, open and universal?

Nicolai: "Space is King" - The space is the generic term for Dub, because space opens up possibilities. Reggae is my music, but I would still use the term Dub do not want to restrict yourself to reggae. I see Dub much more open.

Markus: Of course, the roots of the Dub in Jamaica. But shortly after the invention of Dub already has it in America Dub-Versions of funk and disco pieces given. Dub was by no means limited to reggae in the past. The classic principle of Dub consists in the fact that the sound engineer in the studio is not only responsible for the sound, but becomes a musician himself, taking the liberty of reinterpreting a piece using the means of studio technology.

Thomas: The origin is of course Jamaica and I like the variety best Dub, where you can still hear the origin. But actually I see it like Nicolai, but would add “atmosphere” to the term “space”. The space is created by the reduction, the thinning, which in the Dub is made. We Dubber are from the church of subtraction. Leaving it out reduces a tune to the essentials.

Nicolai: Correct. There are magical moments in many classic reggae pieces, while other parts are rather uninteresting. And that's the essence of Dub: At the Dub the magical moments of a piece can be picked out and emphasized. Dub is the essence of a piece.

Thomas: However, we don't necessarily reinterpret a piece. Many of ours Dubs are called Dubs produced. There is no longer any preceding “original”.

Markus: For my new album “Nu School of Planet Dub"I had" originals ", but I'm with Dub-Mix proceeded very differently than the Jamaican originators. Instead of remixing the original and adding effects, I take it apart completely and build a whole new piece out of it. I make completely new pieces out of the material. The only constants are drums and bass - the groove base. I take a lot of freedom in everything I do about it. Why should I limit myself there?

Felix: For me, the magic of is in limiting Dubs. Get by with less and essence musical resources. My goal is to sound as timeless as possible. I love a sound that was there years ago and that will still be there in tens of years. The current “zeitgeist sound” has a major disadvantage for me. It has a certain daily topicality, but also only a limited half-life. In the 80s, I also started with the concept of deconstruction and breaking-of-the-listening habits, prematurely (infected with On-U-Sound). But since this is now being done in all sorts of current music styles, I am now feeling a bit bored. Production has of course also become very easy thanks to the computer. This causes the results to become inflationary and lose their value. Meanwhile I prefer a quality sound again. There's a difference between a record like “Sgt. Peppers… ”and one programmed on the cell phone Dubstep. I prefer to focus on music than technology.

Rein: I am surprised that nobody here says: "Dub is bass ”. Because although reggae is already a style of music that gives bass a prominent position, it is Dubwho, by omitting the vocals and thinning out the rhythmic-tonal texture, emphasizes the bass like no other genre before him. Without Dub what is now called “bass music” would be inconceivable. Dub was the blueprint for the music that can be heard in hip clubs today.

Markus: That's true. Drum & bass, Dubstep, trap, Moombahton - that's it all Dub developed. Practically all of modern dance floor music.

Rein: Therefore, I also believe that it is the bass that is essential for the fascination of Dub responsible for.

Felix: The physical experience of music is of course very easy with bass.

Markus: I see it that way too. This deep, rolling bass figure creates the hypnotic effect of Dub. The trance-like, psychedelic, "trippy" of Dub exerts a great fascination. You also have to say: This also fits perfectly with certain drugs.

Nicolai: Dub may remind us of the situation in the womb. You are safe and protected and surrounded by fluids through which all noises in the environment are filtered. The rhythmic beating of the mother's heart is a steady beat. Actually, therefore, all people should Dub-Be fans.

Rein: Cool theory. I do believe, however, that you have a special disposition for Dub and needs reggae. I'm sure each of us has experienced it like this: You hear reggae for the first time and it clicks. A key fits into the lock. The beginning of a lifelong relationship. In my case it has Dub clicked a second time. Reggae and Dub for me are inseparable.

Felix: Safe in its original form. But as we also know, there are also numerous parallel developments that only have to do with reggae to a limited extent and Dub propagate as an independent art form, such as downtempo, Dubhouse, Viennese school with Kruder and Dorfmeister, Berlin school with rhythm & sound etc.

Nicolai: I originally came from punk, but now I listen to reggae more than anything else. That's why I'm with Dub the reggae flavor is also very important. If the DubMethod is applied to another genre, then I think that's good too, but it doesn't pull me under its spell as if it contains reggae. Whenever I hear an offbeat skank, I'm in right away. It works like magic for me.

Thomas: Yes, reggae and Dub belong together. But Dub doesn't necessarily need a reggae vocal piece as an original. I have the vocal version and Dub equal rights next to each other. I couldn't and don't want to decide what to prefer.

Exodus: Dub Goes International

Rein: I totally agree with Thomas. Dub is now an independent genre and no longer needs a reggae vocal original. More modern Dub is of course based on what Jamaican studio technicians had developed over the course of the 1970s. But with the handover of the baton of the Dub from Jamaica to England in the mid-1980s, has become Dub fundamentally changed. Was in Jamaica Dub the “version” of a vocal original, with the mix and sound effects given the attention previously reserved for the voice. Dub was secondary use and bound to the conditions of the original. That only changed when Dub died out in Jamaica and was further developed in Europe. You can say: the Dub found himself. He was no longer dependent on a vocal original, but became directly as Dub produced. This made it possible to tailor the music for certain qualities: for hypnotic repetition, for a dense, magical atmosphere, for intensity and for bass, bass and bass. Dub is no longer a derivative of reggae, but an independent genre that - to put it bluntly - has more to do with European club music than with classic reggae.

Nicolai: What in Europe as Dub applies, is only ridiculed by the Jamaicans. We Europeans made something of our own out of it. We brought in many influences from European music.

Markus: I used to have the whole Jamaican Dub-Bought albums. Today i see Dub but very different. I also produce my music very differently. I go much further than just twisting the buttons.

Felix: I now dare a very steep thesis: That the Jamaicans get away from the Dub removed may also be due to the fact that the Jamaican dance hall sound has de-spiritualized itself. It's just no longer roots reggae that reminds you of its origins. It was already atmospheric Dub, Magic and intensity the talk. I think we mean the same thing. Such a situation arises when one can “look beyond one's own nose”. That was the 70ies reggae with its message and the atmospheric Dubversions that have inspired and influenced us all. Homophobic dancehall acts who only dissect in their lyrics and turn the screw, probably also place less value on the atmosphere of a philosophical reasoning. That Dub is currently hidden there is for me (and the Dub) rather pleasing, because also clearly delimited.

Rein: Felix's thesis is: Dub died out in Jamaica because the music no longer fit - "de-spiritualized" - as you say. That sounds logical. But isn't it also conceivable that it is for Jamaican Dub simply no longer an audience? It's really interesting that all the famous Jamaican Dub- 1970s albums were essentially made for the international market. The albums were hardly sold in Jamaica. Dub was also used in a completely different context in Jamaica: the one pressed on singles Dub-Version served as a pimped rhythm basis for the live performance of the dancehall deejays. Quite different in Europe: here crowds of white reggae lovers bought them Dub-Albums and listened to them pure and without live toasting on their stereos. Dub has been received completely differently in Europe. And what Europeans are up to Dub appreciate - the atmosphere, the magic, “Computerized Reggae” and subsequently Dancehall could no longer offer that. That is why people like Mad Professor and especially Jah Shaka began to produce for the domestic market and took a direction contrary to Jamaican reggae. While reggae in Jamaica became faster, more reduced and more vocal-dominated, the European one demanded DubAudience for slow, hypnotic beats and (induced by electronic dance music) for instrumental music. In Jamaica the good old bassline disappeared from reggae, in the newly emerging UKDub on the other hand it was increased immeasurably. In short: the European one Dub emancipated himself completely from the Jamaican original. From there drum & bass, garage, Dubstep and trap.
Now that this bass music is so popular, Jamaican producers are also appearing again Dub to reflect. That also goes very well with the roots revival.

Felix: Yes, of course, as soon as the music wakes up again from its insignificance and is filled with content, the space-giving function of the Dubs. I mean to say that there is an increased interest in real played roots reggae. Today's youth - like every new generation - are bored of their direct predecessors. You are looking for an authentic, personal attitude towards life. You will currently find that more in organic roots than in the omnipresent, computer-aided dance styles. This is just an observation from our environment. Sure there are other young scenes that would be happy with Dubstep etc., but I don't know them.

Markus: I think the Jamaicans produce very conventionally at the moment. Classically at the band level, just like it was done before. For me, productions from the Mad Decent and Diplo environment are much more interesting because they break down all boundaries. I like Major Lazer partly too. Trap is fantastic. I am very inspired by their ideas.

Felix: I think Major Lazer is very cool too. He's cheeky and intelligent when it comes to programming and mixing. The quality is right again. But when Dub I wouldn't necessarily call it well-made pop

Nicolai: Major Lazer is too trendy for me. The last good one Dub- The album I heard, on the other hand, is “Hurrican Dub“By Grace Jones. It's phenomenal in sound and very imaginative. There were good people on it, all handmade. Otherwise I am now hearing a lot of drum & bass influences again. It is possible that this sound will become more important again in the future. The wobble bass from Dubstep, however, is declining. For me, the more open Dub the better I find it. I think it is with Seeed: “Berlin guys on the wrong track, just about to take off, making the first record is like laying an extra big egg, actually you have to put something on the roof ex officio, purists, style policemen with 7: 0 sweep off the square! ". The quote is like a motto to me. I've always had problems with purists.

The Spirit of Dub

Rein: Purists and dogmatists stay below Dub- Rarely finding friends - with one exception: the Steppers sound system scene is somewhat orthodox and sees itself as extremely spiritual. Which, by the way, I can understand well, because such a thing Dub-Soundsystem-Nacht has something metaphysical about it.

Nicolai: I was at Jah Shaka's in London once and I have to say it was incredibly spiritual.

Felix: Yes, the first Shaka Dance has for many Dubheads something of an initiation. The first time you come into contact with this intensity, something happens inside you.

Markus: The basses that stand a meter high in the room, which you can almost touch, are spiritual. It takes you physically.

Nicolai: You keep coming back to the bass.

Felix: But bass is only the "fuel", the technology. In my opinion, the much-cited “positive vibe”, similar to gospel, is caused by the performed conviction of the protagonists.

Nicolai: Dub is already spiritual. But not in a religious sense. Hence it is actually an abuse of the spirituality of Dub to reduce to the topic of Rasta alone.

Thomas: For me personally, Rasta and the religious side is not important. Everyone should deal with that for themselves, but I think that the spirit of reggae and Dub can be felt even without this side.

Rein: I think that humans have a biologically based longing for spirituality. In my case, Bass & Space serve this need quite well. But I can understand that many fans don't know what to do with such an abstract spirituality and then, even as white Europeans, subscribe to Rastafari. There is of course a certain contradiction in this, which makes one thing very clear: namely that we are fans of music that originally had nothing to do with our own culture. Isn't that strange? Actually we are cultural imperialists.


Nicolai: The effect of the music is generally human. It affects us directly and independently of cultural affiliation. There are tones and vibrations. What matters is what touches my heart. No matter what culture it comes from.

Markus: I've always felt spoken to by rhythmic music instead of the melodies of classical European music. So I inevitably ended up with Black Music. That has nothing to do with culture, but with personal feelings.

Thomas: If you start making the music yourself, then you have the opportunity to leave out aspects that do not fit your own life situation. We love Jamaican music but try not to pretend we're Jamaicans. It's safe to hear that it's the continental version we're playing.

Rein: You are absolutely right. That's actually how I see it. The decisive factor is the aesthetic experience that comes with listening to Dub is triggered. The production technology, the cultural origin, even the artists don't really matter. The music must - even without prior knowledge - stand for itself and be able to convince aesthetically. I find that up Dub particularly suitable for this because it is instrumental. The texts - alien to their own reality - are left out.

Word, Sound & Power

Felix: The mainstream still needs a singer who mediates between the fan and the music to understand. This clientele will be with you Dub Always have a hard time anyway. Dub is far too abstract for the average consumer.

Nicolai: If you listen to the charts (including the reggae charts), you quickly notice that only vocal songs are present there. The music is in the background. People are guided by their voice, words, and singing.

Thomas: We are still often asked why nobody sings here. Then we say: Because we want it that way. The lack of vocals can be a hurdle in marketing Dub be. But we do it anyway!

Markus: If you consciously listen to pop music like Lana Del Rey, for example, you will recognize that it is very slow, sedate pieces that are completely dominated by the voice. The music behind it literally disappears - and is mostly total crap. In fact, it sounds really bad. The videos, on the other hand, are elaborately produced. It's too thin for me, too limp. But that's how you sell music. It's mainstream. Dub is the exact opposite.

Rein: What Dub What makes it so exciting as opposed to the mainstream is the fact that Dub is much more complex. So can Dub for example perceive purely physically. The groove captures body and mind and you let yourself be carried away by it. One can Dub but also listen very consciously and analytically, almost like classical music. Only when it works on both levels is there a Dub really good.

Thomas: I agree. We play concerts where everyone is dancing, but also so-called “sofa concerts” where the audience just sits and listens. Great that that with Dub is possible.

Who the Cap Fits

Rein: Not everyone appreciates that. I am surprised that reggae and Dub mostly have different followers. The scenes are not identical.

Felix: The reggae scene is traditionally based on the Jamaican original, while the Dub-Scene, as we have already noticed, is more of an international thing. The fact that things develop in very different directions in such a cosmopolitan scene is an enrichment and a challenge, also or precisely because it can sometimes be amusing or disturbing.

Thomas: There are many people in reggae who have the fascination of Dub do not share. But that's okay too. Our audience is made up of Dub-Lovers. It's not exactly your typical reggae crowd. We also like to play in clubs that tend to have a jazz audience. It works very well. Most of all, these people enjoy watching the musical craft on stage.

Nicolai: So, I have to say: That DubAudience consists mostly of older men and few women.

Rein: My experiences are very different. For example at Dub-Weekender in Wales, where I was recently, the audience is completely mixed. Young and old and also a lot of women. I think that's good at the moment Dub: Unlike z. B. in techno or blues, people of all ages and both sexes can agree on the music.

Nicolai: Okay, the steppers scene is different. Young audiences also go there. Women too.

Markus: Dub speaks to women as well as men. It depends on Dub is produced for a reggae audience, or whether you want to appeal to a younger, club-oriented audience. Then you would have to dare to do one Dub-Act to be placed next to a techno DJ. For this to work, the DubBut they are mixed together like a club DJ would.

Nicolai: I'll get you a seat next to Westbam on Mayday. Then you can prove it.

Markus: Oh yes!


Rein: No matter whether young or old, men or women: For Dub it doesn't look bad at the moment, does it? I have the impression that it is attracting more audiences again.

Markus: I am currently experiencing this with a lot of young people who come from dancehall and are tired of the whole jump up carnival. They come and discover the dimension of Dub, the huge bass.

Felix: Well, if that's not the famous “whistling in the forest”. For me the last statements are also the proof of my thesis that the form alone does not really lead to the goal. Otherwise we wouldn't have to pat each other on the back and look for positive approaches, then there would be a positive development. I am placing my hope in future generations, who will by far the developments and Dubwill reevaluate visions for themselves.

Nicolai: I still get requests from people who do Dub Just discovered for yourself and me after the king size Dub Vol. 1 from 1994 ask. I therefore believe it Dub will always give. Sound & Space are immortal and will definitely become more popular again soon. On the other hand will Dub still remain a niche. Unfortunately, it is difficult to earn money with it. I will retire in 2023. We'll have to wait and see what happens until then. But I am optimistic because I don't only see the material side. I love the music and the people who make it. That's what I enjoy about my job. It will stay that way. I'm not worried about that. The bass rolls and will keep rolling.

Three Dub-Albums that show the way into the future:

1. TheDuBros: Instigation
2. Dub Syndicate: Hard food
3. Lee Scratch Perry vs. Robo Bass Hifi vs. Dubblestandart: Nu School of Planet Dub

1. Lee Scratch Perry vs. Robo Bass Hifi vs. Dubblestandart: Nu School of Planet Dub
2. Various producers: Dillon Francis, etc! Etc !, Bro Safari, Elliphant, Flosstradamus

1. White noise: Electric Storm
2. Jimi Hendrix: Electric Ladyland
3. The Beatles: Sgt.Pepper's Lonely Hearts Dlub Band

1. King size Dub: Germany Downtown, Chapter 2
2. Umberto Echo: Elevator Dubs
3. Dubmatix: In Dub

1. Hey-O-Hansen: Sun and moon
2. King size Dub: Germany Downtown, Chapter 2
3. Dubmatix: In Dub


19 questions to: The Senior Allstars

Your name: Thomas Hoppe (drummer, The Senior Allstars)
You live in: Münster
Title of your last album: The Senior Allstars - Verbalized And Dubbed

What is your definition of Dub?
Dub is an original Jamaican style that reveals the essence of a song by reducing it. By omitting them - completely or partially - individual elements are particularly emphasized, be it through effects or by simply bringing them into focus. In a nutshell: I also love the term “psychedelic reggae” that Neil Perch used here on the blog.

What distinguishes a good from a bad Dub?
A good one Dub is based on a good tune. The bassline is of course very important, as is the groove. And the good one Dub impresses with space and atmosphere. If there are still some magical moments then this is the good one Dub very good. A bad one Dub can arise when technology is more important than music.

How would you your Dub-Describe style?
I perceive the style of the Senior Alltars as “authentic continental Europe”. We love the Jamaican roots of the Dub, and that is always a fixed point. And yet we try to do our own thing with it. Free space is important to us, and somehow everything is analog. For example, we don't have a programmed delay time on stage, the factor of chance should definitely remain on board.

How does the creation process of a typical Dub-Tracks from you guys?
There are two paths that we have taken as a band and are still taking: Either there is a song and we will do one later Dub from that. So the classic way. Or a song is created directly as a Dub-Tune. The special thing about the Senior Allstars is that everyone is themselves dubbt. And that we keep a high degree of freedom. So everyone is played live Dub always a little different. And when things go well, the magical moments mentioned above may arise.

When are you with one of you produced Dub satisfied?
When I no longer hear him as a music maker, but as a music listener. So when my gut tells me, instead of my head, that I like the song.

What are your personal Dub-Top 5 albums?
Prince Buster: The Message Dubwise
Keith Hudson: Pick A Dub
King Tubbys: Meets Rockers Uptown
Lee Perry / The Upsetters: Great ape
Burning Spear: Garvey's Ghost
Linton Kwesi Johnson: LKJ In Dub

Who is the greatest for you Dub-Artist of all time?
King Tubby. Simply as the most important pioneer of this wonderful genre.

And who is currently the most interesting Dub-Artist?
I still enjoy everyone Dub by Victor Rice. And that for almost 20 years.

What is the musically most interesting decade for you? Why?
If I look at my list of top albums, it's probably the 70s! Because the albums from that period are the essence of Dub define and still get to the point today. And because perhaps the results are particularly musical because of the limited technical possibilities.

What is your current favorite album?
Curtis Mayfield: There's No Place Like America Today (old ham, newly discovered).

In what form do you buy your music: vinyl, CD, download, subscription? Why?
I'm definitely a vinyl fan. To justify this, I pull an open Rolling Stone magazine off the shelf: “Vinyl is the romantic way of listening to music, it is the most devout format. You have to take part, get up, place the needle. ”That's what Jack White said, I couldn't put it that beautifully myself. I also own CDs, of course, but for some genres - and that includes Dub - Vinyl is particularly important to me. The only ones Dub-CDs that I consciously bought in recent years were the Greensleeves “Evolution Of Dub“Boxes. But then the need arose to look for the best albums on vinyl as well. And when I get the Prince Buster label of my “The Message Dubwise “look, crooked cut and skewed centered, wonderful!

Can you make a living with music?
No. But I don't even try (anymore). That brings time problems to music making, but also relaxation. In our band, however, it's very mixed.

Which artist would you like to work with?
On our last album we just worked with so many people that I was happy to have worked with: Felix Wolter, Tokunbo, Umberto Echo, Dubmatix… But yes, Linton Kwesi Johnson on one of our tracks, that would be a dream for me!

What is your particular strength?
My strength and that of my band are, I believe, that we don't have to force ourselves to “less is more”, but that it comes from within. That fits with the music we play.

What do you enjoy most about your job?
That I don't see it as a “job” at all. And that I can sink into making music and forget everything else.

What do you dread in the studio?
Nothing at all. I love studio sessions because it's a particularly intense form of making music together. Everyone's attention is sharpened to the utmost, and if things go well, it's like a flow experience.

When you're not at Dubs screwing, what is your favorite thing to do then?
Listening to music, being a father, doing sports. Oh yes, and making music also includes all the trimmings. Then there is also office work.

What is the current state of health of Dub?
Perceived individually quite well. Is Dub a sprightly middle-aged person? Or should we even try “Forever Young” by Alphaville dubben? After all, they also came from Münster. I digress ...

How do you see the future of Dub?
There will always be people who are fascinated by the Dub-Reggaes by King Tubby, Lee Perry and Co. succumb. And there will always be people who Dub develop and use elements of it for exciting new things.


19 Questions to: Braintheft

Your Name: Mathieu Pé aka Dubbecame Dubble (Keys and Trumpet by Braintheft, Brass Wood & Wires, The Magic Touch ...)
You live in: Berlin
Title of your latest album: Pressure drop

What is your definition of dub?
Dub is first a minimal, mostly instrumental bass oriented, somewhat psychedelic and trance evolution of Jamaican popular music bringing post-production techniques to the front. It started in the 60's as an emancipation of the sound engineer as central part of the creative process. The mixing desk became an instrument. Dub had a huge influence worldwide. The minimal and trance aspects brought a whole new time perception in popular music leading the way to all electronic styles as we know them now.

What is essential for a good dub?
Space and Bass !!!

What is the difference between a good and a bad dub?
Who am I to judge? I'd say I like or I don't.

How would you describe your style of dub?
I try to keep up to the roots staying away from the computer as much as possible, using actual instruments and analog gear. So hopefully it sounds more authentic.

What is your process of creating a typical dub-track?
Well, the good old way of doing it was first to record a song with the band. Then bounce it down to eight discrete tracks in order to mix it on the flight at the mixing board with all sort of effects connected to it. So that's how I like to work too. I believe to get inspired by limitations.

When you're satisfied with a dub produced by you?
If I felt the flow while mixing and there's no major issues: I'm happy. I believe the better is the enemy of the good. Most of the time first takes that thing you can't reproduce.

What are your personal top 5 dub albums?
In no particular order:

Augustus Pablo: King Tubby meet Rockers uptown
Serge Gainsbourg feat. Sly and Robby: Aux armes etcetera
High tone: Opus Incertaint
Scientist: Heavy wheight Dub
Jackie Mittoo: Champion of the Arena

Who is the greatest dub artist of all time for you?
Guess what ... the King: King Tubby. The simple fact that he was the first makes him untouchable.

And who is the currently most interesting dub-artist?
The Breadwinners (Alan Redfern at Bakery Studio). Best sounding dub I heard in a long time. All analog, pure feeling. Check him out.

What is the musically most interesting decade for you? Why
The seventies for sure. Because the electrification of music brought a lot in all styles. New genres popped out everywhere. It was a very creative time. Probably because back then the music industry, the distribution, democratization of private copy, the access to musical instruments boomed like crazy.

Where is the biggest market for your music?
France is the last el-dorado. We played at the last telerama Dub with braintheft. It was amazing to see how young the crowd was! The venue was packed of Bass addicted youngsters! Go west!

Are you able to earn a living with your music?
Not really. And I'm not running after it otherwise I'd make compromises to do so.

Which artist would you like to work with?
There is so much ... and not only in dub. I'd say Victor Rice would be one of them just to keep that list short.

What is your particular strength?
Inner peace.

What do you enjoy most about what you are doing?
Playing! In all contexts would it be behind the mixer or instruments, at home, with friends, on stage ...

What horrifies you in the studio?
The time / money factor! There's never enough time in the studio!

When not tinkering with dubs, what do you prefer to do?
Playing trumpet! Tweaking synths!

What is the current health status of dub?
Dub and music in general knows no illness. In todays world where musical vividness tends to be measured in financial success, talking about health of a style makes little sense. Money is at the root of all evil and it affects music as everything else.

How do you see the future of dub?
It will still be there in fifty years because Dub artists have experimentation in the blood. So I guess it will keep on and on, mixing with other styles.


19 questions to: Dub Spencer & Trance Hill

Your name: Philipp Greter (keyboardist and producer of Dub Spencer & Trance Hill)
You live in: Lucerne (Switzerland)
Title of your last album: William S. Burroughs IN DUB - conducted by Dub Spencer & Trance Hill (Echo Beach 2014)

What is your definition of Dub?
The following characteristics define for me "Dub"
• off-beat feeling
• no clear song structures
• played very reduced
• Little or no singing
• Enriched with effects, so that the listener can immerse himself in the music.
The real environment can sometimes rapture. I love it when, while listening, one suddenly doubts whether a sound is coming from the speakers or whether it comes from a chirping bird on the windowsill.

What about a good one Dub indispensable?
A deep, warm bass sound.

What distinguishes a good from a bad Dub?
You should hear the handwriting of the producer or the band. Therein lies the difficulty and the art. There are many Dub-Tracks that sound just too random.

How would you your Dub-Describe style?
As I did above the "Dub“With a psychedelic twist. The distorted guitar sound of Markus Meier, which is actually in the Dub rather atypical and rare. Furthermore, the absolutely deep bass sound of Marcel Stalder and the virtuosity of the drummer Julian Dillier.

How does the creation process of a typical Dub-Tracks from you guys?
We play everything live and together in day and night-long recording sessions. The material is then passed through the Dubwolf shot (it's in my little home studio at home). And already done.

When are you with one of you produced Dub satisfied?
Well, that's one of the things ... If it sounds good to my ears, I'm happy. Usually only when the date has come to deliver the material ;-)

What are your personal Dub-Top 5 albums?
Augustus Pablo and King Tubby: Rockers meets King Tubby in a Firehouse
The Upsetters: Blackboard Jungle Dub
Jackie Mittoo: Champion in the arena
Rhythm & Sound: The Versions
Trentemøller: The last resort
Understood: There are hundreds of others who belong here too ...

Who is the greatest for you Dub-Artist of all time?
King Tubby. Co-inventor of the Dub. With the limited resources available to him, he conjured up great recordings!

And who is currently the most interesting Dub-Artist?
Umberto Echo. Live at the mixer and as a studio producer. Absolute cream! That's why we love working with him so much (he is of course an exceptionally fine guy too ;-).

What is the musically most interesting decade for you? Why?
Now and the future. Because we don't yet know what's coming.

What is your current favorite album?
Unfortunately, I'm not exactly up to date ... The productions of Aldub I like it very much, as well as the Blood and Fire samplers.

Can you make a living with music?
In part ... As a used car dealer you would probably earn better ;-)

Which artist would you like to work with?
Unfortunately all of them died.

What is your particular strength?
Our strength lies in the collective. As a live band, we always manage to pull people away who actually don't know anything Dub- Have music on your hat.

What do you enjoy most about your job?
To have no limits and to inspire people!

What do you dread in the studio?
When the technology doesn't work and when the beer runs out ...

When you're not at Dubs screwing, what is your favorite thing to do then?
Family outings ;-)

What is the current state of health of Dub?
I have to ask the doctor. Surely already old and frail. But we live longer and longer. Every now and then a lift, then it's okay.

How do you see the future of Dub?
As long as I live he lives too Dub, afterwards it's my sausage.


Interview: Dubmatix

You have to get used to a new thought: the best Dub and Dub-oriented reggae no longer comes from England or France (not even from Germany or even Jamaica). He comes from: Canada! Because there is currently the hardest-working, most talented and probably also the cleverest producer of the genre: Dubmatix. He is not only a studio virtuoso par excellence, but also an incredibly reflective artist and perfectionist, who, with his unmistakable feeling for the ultimate groove, pulls out productions that define the current state of the art of the genre. When music hits, you feel no pain - luckily, one can only say, because the rhythms of Dubmatix strike with irrepressible force. But this power does not arise from bass and even more bass, but is the result of a finely thought-out arrangement and perfectly fitting timing, which brings every single element of the music to its maximum effect. This studied musician started work 10 years ago and has since produced 6 brilliant albums (Dub and vocal). Now he reveals how his music is made and what makes its special quality.

What is your definition of Dub?
Space! Space, experiment and freedom. In the center of Dub stand drum & bass. They form the foundation. The song, the instrumentation, the effects and the arrangement only serve to strengthen this foundation. Dub is one of the few musical genres that offers almost unlimited freedom - anything is possible. For me it is Dub the highest form of musical expression. There are no hard and fast rules.

Your father is a well-known jazz musician. Has it influenced your musical development?
My father played blues, funk, rock, jazz - everything, and we always had bands at home that my father rehearsed with. In addition, as a small child I was allowed to go on tours and spent a lot of time in the studio. My parents were also reggae fans and heard the young Bob Marley. My father played in one of the first reggae bands in Toronto during the early 70s. Over the years it has all influenced me a lot: my father's record collection, the music he played himself - and of course my parents' encouragement to learn an instrument and to try out all kinds of music. It all created the core of who I am today in musical terms.

You have a degree in music. How does academic training affect your music?
I started playing drums when I was a little kid. When I was 11, I was given the opportunity to learn a second instrument: tuba or bass. It was an easy choice - I went for the bass without hesitation. So for the next 7 years I learned to play the double bass. I learned to read music, interpret music and play as part of an ensemble. It was a fantastic experience. At the same time I learned to play the piano and took jazz guitar lessons. All of this finally enabled me to grasp musical ideas, to implement them, to record, to mix and finally to publish them.

You would expect someone like that to play more classical music or at least jazz. How did you get into reggae?
I've listened to a lot of classical music, but also a lot of blues, rock, metal, punk, hip hop, funk and reggae - practically every genre. But there is something about reggae that particularly appeals to me. Perhaps that has to do with the fact that my two most important instruments, drum & bass, are also the most important instruments of reggae. In addition, reggae with its sub-genres offers such a diverse musical landscape in which you can romp around and experiment that it inspires me immensely. I also never tire of a good skank. Reggae is also incredibly uplifting, positive music. I love Marley's line of text: “When music hits, you feel no pain”. It expresses exactly what the musical art form "reggae" stands for.

How does your musical training help you in the production of reggae?
I've spent most of the time in studios over the past 25 years, experimenting a lot with styles and techniques. I've learned to understand exactly what I'm doing and how I can create certain sounds. But my real training was to listen to the reggae productions of the 70s and find out how they got that dry drum sound, or how they went about making the bass sound so big and fat, or why it was sounds so good when the winds play slightly out of tune, or how they produced that incredibly percussive guitar skank. This knowledge is very important in my studio work today. Just as one learns by e.g. For example, if I replay a Jimi Hendrix solo note for note, I have tried to "reproduce" King Tubby mixes and imitate the cleanly polished Marley recordings or the reduced sound of a Burning Spear.

Your productions are complex and incredibly detailed, but at the same time they sound very simple and clear. How you do that? What is your approach to producing reggae?
Experimenting and layering, constructing and deconstructing, these are the essential elements. I always start with a drum pattern or a bassline - the whole song develops from there. I try a lot: one drop, stepper, half step, blend, etc. - until I find the perfect drum pattern for the bassline (or vice versa). As soon as I have a drum & bass rhythm that I am satisfied with, I layer the instruments on top of each other: organ bubbles, organ skanks, piano skanks, guitar skanks, guitar riffs, organ riffs, synths (if it fits), percussion, etc. When the track is ready, then I may decide to replace the programmed drums with live ones or to record the bassline again. I delve into the smallest details until everything is perfectly coordinated. For me, music is like a puzzle where every piece has its place. Every instrument, every effect, every sound has its own specific position. The last step is adding the effects: echo, reverb, reverb, phasers, sound FX, cymbal crashes, drum rolls.
Then I listen carefully. Does the piece have a continuous flow, from the beginning to the end? Are there any irrelevant items that I can remove without loss? Sometimes I remove an entire chorus or verse when I feel like the piece is stuck somewhere. If I wander with my thoughts while listening, it is a sign for me to shorten or restructure the piece.
Only when I can listen to the piece without anything bothering me do I know that I have finished my work. I am very particular about it. It can be a single hi-hat beat that I don't like that makes me feel uncomfortable. Then I sit down and tinker with it until it is finally correct. Only then am I satisfied.

You've been recording a lot of vocal tunes lately. How do you choose the artists you want to work with? How do you contact them? Do you tell them what to sing?
When I started letting artists voice my rhythms for my album “Renegade Rocker” in 2007, I contacted almost all of them via Myspace. Ranking Joe, Pinchers, Sugar Minott, Mykal Rose, Linval Thompson - all on Myspace! Today this is done through promoters, tour managers and friends.
Usually I send the artists a few selected rhythms from me and let them decide which one they want to voic. For me, that's exactly why I want to work with them: I want their vibe on the rhythm. They should sing whatever comes to mind. I usually produce specific rhythms for individual artists, in exactly the style that suits them. For example, I sent Alton Ellis a rock steady rhythm. As soon as I get the vocals, I do them intensely. Most of the vocals that can be heard on my productions have been edited to a greater or lesser extent. Sometimes I cut entire stanzas or split them up, or I create a chorus from a hook that I found somewhere in a stanza. Always with the aim of enriching the overall production. One important technique I've developed is simply to give a song room to breathe. This can be heard on almost all of my tracks: After a chorus, the vocals only start again after four bars at the earliest. Instead, maybe the horns can kick in, or I just let the music play. It is very important to me that the singing has ebb and flow, so that it is dynamically embedded in the music and never dominates the song.

What inspires you
Traveling and touring opens my ears to new styles of music and new sounds, which I really want to experiment with. For example, on our tour last November, we listened to MUSE for hours while driving between two gigs. The sound bored into my head. When I got back home in the studio recording songs for my album “Rebel Massive”, I incorporated some of these ideas into the song with Prince Jazzbo (RIP). The same goes for certain Steppers sounds that I encountered, as well as for Dubstep and jungle. At the moment I'm inspired by Congo Natty, who brings back memories of the 90ies jungle in me.