MAKING DUB WITH COMPUTERS - CHAPTER 31: VERSION EXCURSION (4): FIVE WAYS TO START A DUB AND A FINAL VERSION

You're a selector on a tight budget, whether financially or timely. In any case, you have to browse quickly through the available catalogue of Dub tracks. Or perhaps you're a Dub collector and you're looking for that next addition. Whatever the case, I'm sure you'll agree that when you're looking for or listening to new music, the first let's say 20 seconds are pretty decisive.

That's what we're going to address in this final chapter of the Version Excursion into the basics of Dub mixing.

I've prepared five different ways to start a Dub, using the riddim we've made for this tutorial. All four effect devices are used, just like in the previous chapters. Here they are, with a small explanation:

Variation A:

1. Drum Roll
2. Skanks
3. Bass drops in
4. Drums drop in

When you start with a Drum roll, then cut the Drums to let only the Skanks play, cut the Skanks with echo and start the Bass during the Echo with the Drums entering later, you create a tension. You tend to get impatient to hear the drum and bass. 

This is just one way of doing it. However, it is a rather classic method that you most certainly will hear back in many classic Dub tracks.

Variation B:

1. Drum Roll
2. Bass Drops In
3. Horns Drop In and Out
4. Pucking/Clavinet Drop in and out
5. Skanks Drop In and Out

Starting with a Drum Roll, then cutting the Drums while only the Bass plays and the rest of the instruments are quickly (un)muted at strategic points. 

It creates yet another vibe of tension, as you want to hear the Drum and the Bass.

Variation C:

1. Pucking/Clavinet only Wet through Pre-Aux 4
2. Bass Drum Drops In and Out
3. Bass Drops In
4. Drums Drop In

Running the pucking Guitar and the Clavinet through the Aux 4 Pre out to the Reverb, with the bass drum hitting once or twice before the bass line drops in, is a more spaced-out vibe.

It's not so much to create a tension, it's more a spaced out thing. 

You know...

Variation D:

1. Drum Roll
2. Bass, Skanks, Horns Drop in With Space Echo
3. Skanks are muted directly
4. Horns (un)muted Strategically

Because of the many 16th notes played in the Horn Them, just (un)muting the channel at (no so) random will give an instant Dub vibe that will catch those that love their "Dubbing With Horns".

Know when to (un)mute and you can create special echo's. For more information see the Tutorial at studio.dubroom.org

Variation E:

All channels open Aux 3 (Space Echo)

1. Drum Roll
2. Drum and Bass
3. Skanks (un)muted
4. Horns (un)muted
5. Pucking Guitar and Clavine (un)muted)

The Space Echo is so spacey, that in itself feeding the device by merely (un)muting channels does give a Dub vibe. When you have trained yourself in knowing where to find the strategic places to (un)mute, you're pretty close to creating a reasonable Dub in one take.

Here are the Five Ways To Start A Dub Mix:

Before going much deeper into the realms of DUB, let's formally conclude this little Version Excursion with a DUB mix carrying the same title. This Dub mix is created using "just" the knowledge and insight provided in the tutorial thus far. In other words: the previous thirty chapters laid down a solid foundation, and not just for this Dub mix. En passant you've been given the "formula" if you will how to make a Reggae track and how to set up your (virtual) studio for some heavy Dub sessions. 

In theory, you're ready to go and make your own production on a level that people who love Dub will want to listen to your track. 

The rest of this tutorial, in a way, are details. 

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