Well, for all those who like the “Book Of Dub“ or the Dub Conference, the myth of “King Tubby” is no longer as romanticized as it was maintained for most of the time. I don’t want to diminish his work, but for me, the origins of the Dub Nowadays, I'm also more into Errol Thompson and Silvan Morris. But King Tubby is, of course, also a pioneer of this kind of music. As far as I understand, he's something like the pioneer of the "live"Dubbing." The book also teaches a great deal about the history of mixing consoles and their development. I always imagined a 16-track mixing console as such a large unit in my mind, and I never would have imagined how small it actually was and is. In comparison, the Mad Professor and/or Adrian Sherwood mixing consoles seem like 160-track consoles.
I don’t know what Haris Pilton’s mixing desk looks like but I am still impressed by his Dubs enthusiastic. “Think Dubby“ has become great again. (That the DubI'm only mentioning here under the table that, for me, they offer considerably more than King Tubby's own. Technical possibilities have expanded considerably, so a direct comparison might be a bit unfair.
The DubThe effects are certainly very reminiscent of King Tubby's. However, the high-pass filter isn't applied quite as harshly to the hi-hat tinkling, which makes it much more enjoyable. I do get the feeling, though, that King Tubby's bias lines are emphasized a bit more. Here with Haris Pilton, they're by no means lost in the mix, but they're not as emphasized as with King Tubby for my taste. On the other hand, Haris Pilton's overall sound is more psychedelic, which stirs me up even more.
Haris Pilton is a great discovery for me. And without DubBlog I probably still wouldn't know him.
Cheers …………………. lemmi
I'm also aware of that, Tubby was the name, the studio. So, I'm not talking about Osbourne Ruddock alone!
I still often make the mistake of thinking what others might think. Your answer makes me think you felt like I was "lecturing" you. I didn't mean that. I simply wrote down my thoughts on King Tubby. I wanted to show what I think I know about King Tubby. I always like to elaborate a bit so the comments section doesn't remain so blank.
It can always be that people in the DubBlog, who only read and do not know much about Dub know how we are here.
And as you can see again and again, there is still a lot for me to learn.
I always write as much as possible to avoid misunderstandings, but I have to keep working on that.
Cheers ……………………. lemmi
Easy! Each one teaches one! Thank you for your efforts, always!
Hehe, that was often on my report card too.
“He always tried his best” ………..
dubblog
6 Responses to “Haris Pilton: Think Dubby Vol. 1“
nice one! good tribute to the one and only king!
Well, for all those who like the “Book Of Dub“ or the Dub Conference, the myth of “King Tubby” is no longer as romanticized as it was maintained for most of the time. I don’t want to diminish his work, but for me, the origins of the Dub Nowadays, I'm also more into Errol Thompson and Silvan Morris. But King Tubby is, of course, also a pioneer of this kind of music. As far as I understand, he's something like the pioneer of the "live"Dubbing." The book also teaches a great deal about the history of mixing consoles and their development. I always imagined a 16-track mixing console as such a large unit in my mind, and I never would have imagined how small it actually was and is. In comparison, the Mad Professor and/or Adrian Sherwood mixing consoles seem like 160-track consoles.
I don’t know what Haris Pilton’s mixing desk looks like but I am still impressed by his Dubs enthusiastic. “Think Dubby“ has become great again. (That the DubI'm only mentioning here under the table that, for me, they offer considerably more than King Tubby's own. Technical possibilities have expanded considerably, so a direct comparison might be a bit unfair.
The DubThe effects are certainly very reminiscent of King Tubby's. However, the high-pass filter isn't applied quite as harshly to the hi-hat tinkling, which makes it much more enjoyable. I do get the feeling, though, that King Tubby's bias lines are emphasized a bit more. Here with Haris Pilton, they're by no means lost in the mix, but they're not as emphasized as with King Tubby for my taste. On the other hand, Haris Pilton's overall sound is more psychedelic, which stirs me up even more.
Haris Pilton is a great discovery for me. And without DubBlog I probably still wouldn't know him.
Cheers …………………. lemmi
I'm also aware of that, Tubby was the name, the studio. So, I'm not talking about Osbourne Ruddock alone!
I still often make the mistake of thinking what others might think. Your answer makes me think you felt like I was "lecturing" you. I didn't mean that. I simply wrote down my thoughts on King Tubby. I wanted to show what I think I know about King Tubby. I always like to elaborate a bit so the comments section doesn't remain so blank.
It can always be that people in the DubBlog, who only read and do not know much about Dub know how we are here.
And as you can see again and again, there is still a lot for me to learn.
I always write as much as possible to avoid misunderstandings, but I have to keep working on that.
Cheers ……………………. lemmi
Easy! Each one teaches one! Thank you for your efforts, always!
Hehe, that was often on my report card too.
“He always tried his best” ………..
“Easy Skanking”………………. lemmi