A Quote by Subb-an

I am taking my production style more into the world of dub. I mean true dub production techniques but in house music. — © Subb-an
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
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.
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.)
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.
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.
Taking employment out of the country - now that's taking away jobs. These shows employ a lot of people: production, post-production, music supervisors, camera people. A hundred people or more.
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.
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.
In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.
One day, my mum bought me this music production software for my computer, and I started making beats... I realised it was more like production than a video game, but it was a video game when I was playing it. That's how I got into music production.
Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.
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.
Dub and reggae... I play that a lot around the house.
Development has to result in jobs. What we need is not just more production, but mass production and production by masses.
I take the purest and hardest forms of music... and come in completely fresh from a production standpoint. It's like hip-hop production, because there's a lot of taking the best parts and a lot of the repetitiveness.
The director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.
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