|Posted on Tuesday, April 24, 2001 - 10:24 am: |
In old skool dub tracks there is an effect usually put on the guitars and hi-hats(but also sometimes on the whole mix)that is like a flanger but more 'organic' in sound.
is it a 'small stone' pedal?
is there a plugin that can get a similiar effect?
i must also give praises unto the creator of the sights and sounds here in cyber space...soon we will speak in tongues of dubb...universal language...one heart!!!!!!!!!
|Posted on Tuesday, April 24, 2001 - 03:05 pm: |
Could you give some examples of well known
recordings with this effect?
Probably you are referring to the technique of combining a reverb with filtering as described
by Dub Creator on his great site:
"How do i get my drums sounding like King Tubby ?
You need a spring reverb and a parametric EQ on either your desk or as standalone unit.
Place the EQ after the spring reverb.
Boost the midrange of the EQ to the max.
Make the Freq knob broadband between 5Khz
and 200Hz if possible.
Open the aux to your spring reverb on the
snare and the hihat channel on your desk and
start tweaking Freq knob on the parametric EQ.
And voila … Tubby style hats and snare.
Works also very well on the skanks."
|Posted on Friday, April 27, 2001 - 12:17 pm: |
tracks like -
'Know Love Dub' - the Twin Roots (on 3Lp Upsetter, Lee Perry and friends box set on Trojon)
'Concious Man' - The Jolly Brothers (not really dub but that effect breaks out in the none vocal parts - but that style goes throughout the whole Lp - 'Conscious Man')
|Posted on Monday, May 28, 2001 - 09:49 am: |
I think especially in the older recordings, there is effects over the whole drums rather than just the hihat. Simply because it's only a four track tape from which some of the best dubs are created. In my music most of the time I treat the drums on one audiotrack as well. When I want to put in effects on the hihat, then I have to use EQ first. This maybe sounding a bit strange, but I think when we want to make old skool music with modern technology, we must not make benefit of all possibilities.
|Posted on Wednesday, May 30, 2001 - 11:20 am: |
I am all for the good ol' gritty production teckniques to get the ol' dirty sound...
but listening to the king tubby and later lee perry dub tracks...i can't help but feel that the drums are split up into atleast two tracks. Because usually you have the hi-hat and kick drum with less reverb and phaser than the rim-shot and toms...the rim-shot seems to be independently accessed...delay is often put on both tracks at different degrees...
I think they combined both the 4 track and the 2 track for the actual sessions...so you have two or three tracks for trums and possible two tracks for rythm tracks and a solo track that can be used to make different versions of the version.
this page rules...deep analysis of the dub...
Zamiata desert lab
|Posted on Monday, May 20, 2002 - 10:09 am: |
Drum processing: GATE!
I also like to work with only one audio track for the drums, and in order to get some heavy processing on only the snare, I add a bus with the following effects: EQ (slight cut of high and low and very sweet boost of one frequency enhancing the snare tonality) Gate (setting the threshold to let only snare hits and eventually some accidental toms or crashes is the most important thing). Then, into dub world! compression, delay, verb... anything.
I think it was a technic used at the time when there were only 4 tracks.
Zamiata Desert Lab
Poker del partito
|Posted on Sunday, September 04, 2005 - 08:42 am: |
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|Posted on Saturday, July 08, 2006 - 02:50 am: |
Ein Schloss, Ein Wurst, Ein Kopf !vbn