A Quote by Adam Mansbach

While I'm working, I stick with music that won't distract me - the dub stylings of Scientist and King Tubby, maybe some Beethoven string quartets. — © Adam Mansbach
While I'm working, I stick with music that won't distract me - the dub stylings of Scientist and King Tubby, maybe some Beethoven string quartets.
The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
My grandmother got me recordings of the 'Goldberg Variations,' in addition to the 'Brandenburg Concertos,' the Mozart string quartets and Beethoven's 'Seventh Symphony.'
I would say that Beethoven's late string quartets are the nearest to God that we'll ever get.
There was one thing Beethoven didn't do. When one of his string quartets was played, you can believe the second violin wasn't improvising.
Beethoven's string quartets express pain itself; it is not MY pain.
The fascination with the music stayed with me for years and I wanted to find out why I liked it so much and to learn the grammar of it, and that's why I tried to write the sheet music down. Writing it down gave me some ideas of other versions of the music and I wrote the first string quartets and piano pieces based on transcriptions.
On the night of Brexit, while some people were celebrating and others were having wakes, I stayed in and played Beethoven, his quartets mainly, into the small hours of the morning.
What sticks in my mind from seeing the Teletubbies is Tinky Winky's handbag and Tubby Custard. I always remember wanting to have a glass of Tubby Custard and some Tubby Toast in the morning.
I listen to music when I write. I need the musical background. Classical music. I'm behind the times. I'm still with Baroque music, Gregorian chant, the requiems, and with the quartets of Beethoven and Brahms. That is what I need for the climate, for the surroundings, for the landscape: the music.
I've got a new studio set up very much based around live mixing and also mixing analogue and digital systems. Inspired by the late King Tubby and Scientist.
Part of me is probably more conservative than people realise. I like my old string quartets, I don't like music that's trippy for trippy's sake.
I realized very early that I was never going to make by living by writing string quartets. But I wanted to write music and I didn't want to have to do anything else.
Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.
Definitely dub is in my body forever. I think I hear everything through a dub filter. Even when I play rock music, I play through a dub filter.
It's weird with making music - you can have no vibe while you're working on something and recognize that the music was special afterwards. And it happens to me while I am working on my own music, as well! One minute you hate it, and then a few years you're obsessed with a little beat you did, and the opposite.
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