A Quote by Kode9

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 got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.
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.
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
Rub-a-dub-dub. Cerebrum in a tub.
A lot of people dub our work as New Age. But for some reason, they don't dub Stan Lee's work that way.
I'm going down the apples and pears, into the jam jar, down the frog and toad into the rub-da-dub-dub, and I'm going to have pig's ear.
To be honest, until I started dubbing, I didn't realize the amount of work of a dubbing artiste puts in. Especially the artistes that dub for villains. They really stretch their vocal cords to a different dimension.
Dub music is like a long echo delay, looping through time...turning the rational musical order into an ocean of sensation.
Vocals are not central to what I do, and I've never liked singing live. I've always been more inspired by rhythm, texture, harmony than vocal melodies and lyrics. Plus, for me, I can better express my musical ideas through instrumental music than vocal music, the emotional interpretation of which can easily supersede the actual musical content or aim.
Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.
You know what's funny is that I have this ongoing relationship with the city of Washington D.C. I went to George Washington University, and my nickname was K-Dub - based on G-Dub - and I'm now on the board of trustees at George Washington University.
Most of my records are very dense, composition-heavy, and there's bits of different kinds of music like an acoustic ballad, instrumental trio pieces, and vocal tracks.
Dub and reggae... I play that a lot around the house.
Twelve years ago me and Allanah became really sick of writing pop songs, ... Eventually we dug a grave for the Thompson Twins, pushed them in there, and then moved to New Zealand. Before that I'd lived for a long time in south London where reggae was the music of the streets around me. You'd hear it booming out of people's windows and shops, and you could buy great old reggae singles for 50p (NZ1.30) in second hand shops. I'd always loved that sound, so soon after we got here I started making electronic dub records with my mate Rakai Karaitiana as International Observer.
It is agreed that all sound which is the material of music is of three sorts. First is harmonica, which consists of vocal music; second is organica, which is formed from the breath; third is rhythmica, which receives its numbers from the beat of the fingers. For sound is produced either by the voice, coming through the throat; or by the breath, coming through the trumpet or tibia, for example; or by touch, as in the case of the cithara or anything else that gives a tuneful sound on being struck.
I'm really into Steve O'Sullivan and Mosaic/Sushitech with that dub sound.
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