DUBSTEP- breaking news, gossip, slander, lies etc

[nomos]

On a side note, I love the fact that he samples, that warm, imperfect dustyness is so needed in that scene. So much of dubstep is all squeeky-clean, sterile synthesis.

I really notice this when switching between dubstep and darkside/jungle tunes (ca. '93-95). Even when using similar palettes and signifiers they have very different sonic characteristics. The jungle tracks have a degree of grain to them, probably accumulated along journeys through cables, gear noise, electrical interference (so many machines, analogue and digital, sending signals to each other), and overdubs. Then that noise is something that you begin to work and play with in the mix. Dubstep sounds clean and hermeticin comparison. It's very clearly a music that's usually made entirely in the digital domain, largely using virtual synths, etc. It's pieces may never touch the air.

It's not a complaint. The audiophilic nature of dubstep listening sort of demands it too. But I miss it sometimes.

So yeah, I like what Hyperdub is doing.

 

[Blackdown]

jungle tracks have a degree of grain to them...

studio techniques have come so far since 93. as you say the switch from hardware to software surely has to be a key factor.

 

[cyst]

I haven't heard one hyperdub tune at DMZ, except for kode9s sets. wtf.

Thats truely shocking. When I first heard this music, Kode9 was an embodiement of the sound and its ethic - forward thinking and unafraid to do things his own way. I wonder how much of an effect his refusal to play by the scenes rules [both in his own music and selections, and in interviews etc] has had in this.

Memories of the Future is, to me, more innovative and diverse than alot of dubstep labels collective output - upon first listen the lively sonics where a relief from low end monotony - surely decent dj's [as those who play at presumably dmz are] realise the importance of a varied selection in maintaining audience interest. Unless the audience craves monotony, which is perhaps the problem.

 

[elgato]

I wonder how much of an effect his refusal to play by the scenes rules [both in his own music and selections, and in interviews etc] has had in this.

i dunno about the implication of conspiracy!

but i think clearly his atypical musical style has affected the willingness of djs to play him, especially as the crowds have changed and the dominant sound has changed. most major djs have a distinct vision, and not many of them seem to have room for his style unfortunately.

there has also been a definate shift (as far as i can see) away from adventurous djing (playing towards a mood, being more experimental) towards playing lots and lots of hype tunes, to keep ppl dancing hard.

also fwiw mala used to play kingstown a lot

 

[Blackdown]

i was thinking about this last night: how there's producers who have made their names by being played by the big/core DJs in the scene and others who simply did their own thing and released records despite not getting any plays out at FWD>>/DMZ etc.

 

[cyst]

i dunno about the implication of conspiracy!

sorry i wasn't implying any form of conspiracy, i was basically trying to say what you just wrote - its not as though there's any deliberate snubbing going on, more just that he's moving in a seperate direction to alot of dubstep and consequently not getting the airplay that his productions deserve. As a fan of diverse mixing [ie. mixes which make perfect sense yet ignore genre boundries] i simply wish more people were willing to mix it up more often, and there was less emphasis on banger after banger - though of course theres room for that style too.

 

[elgato]

i was thinking about this last night: how there's producers who have made their names by being played by the big/core DJs in the scene and others who simply did their own thing and released records despite not getting any plays out at FWD>>/DMZ etc.

definately. props to all those who've blazed their own path, it takes guts and dedication. i also think its very important in keeping the vinyl and artist flow diverse, because it reduces the control of central players, who inevitably have particular tastes and therefore a degree of tunnel vision

 

[elgato]

sorry i wasn't implying any form of conspiracy, i was basically trying to say what you just wrote - its not as though there's any deliberate snubbing going on, more just that he's moving in a seperate direction to alot of dubstep and consequently not getting the airplay that his productions deserve. As a fan of diverse mixing [ie. mixes which make perfect sense yet ignore genre boundries] i simply wish more people were willing to mix it up more often, and there was less emphasis on banger after banger - though of course theres room for that style too.

i agree completely

 

[cyst]

i was thinking about this last night: how there's producers who have made their names by being played by the big/core DJs in the scene and others who simply did their own thing and released records despite not getting any plays out at FWD>>/DMZ etc.

Would you care to mention any particular examples? A few people spring to mind but my knowledge of what gets played by who is admittedly limited.

 

[elgato]

As well as Hyperdub obviously, Blackdown himself is an obvious example. Geiom has gone this route (helped by an appearance on Dubstep Allstars 3). Skull Disco, Bass Clef, Headhunter (initially), Matty G / Argon Records, JuJu, Drop The Lime, to some extent Mark One...

 

[viktorvaughn]

As well as Hyperdub obviously, Blackdown himself is an obvious example. Geiom has gone this route (helped by an appearance on Dubstep Allstars 3). Skull Disco, Bass Clef, Headhunter (initially), Matty G / Argon Records, JuJu, Drop The Lime, to some extent Mark One...

Skull Disco cru are the perfect example of people making bangers on thier own terms which are loved by the fans but never played by the main dmz/skream etc axis. I would wager that pretty much every dubstep fan has respect for Shakleton.

Admittedly their tunes aren't very dancefloor orientated, which perhaps party explains thier abscence in rave sets.

 

[bassnation]

slighly off-topic but....

decompression by mathew jonson

TUNE!

its such a great record - so mournful and yet still euphoric. i'd rate it as the best thing hes ever done.

curiously when i've played it out people haven't gone mad for it - energy levels seemed to drop a bit but this could be down to that particular crowd.

 

[bassnation]

studio techniques have come so far since 93. as you say the switch from hardware to software surely has to be a key factor.

ironic then, that some dubstep producers are busy putting noise and crackle back in.

personally i find some of skreams stuff way too digital and clean for my tastes, although i accept thats part of his style (marcus had a great phrase for it which totally escapes me right now).

loefahs stuff is also pretty clean but its so heavy it doesn't seem to matter.

 

[elgato]

further off-topic! but...

its such a great record - so mournful and yet still euphoric. i'd rate it as the best thing hes ever done.

curiously when i've played it out people haven't gone mad for it - energy levels seemed to drop a bit but this could be down to that particular crowd.

absolutely amazing record, but it aint a dancefloor number imo, one for the very deepest moments where the vibe is perfect and the crowd knows, but nothing else imo

as for favourite Jonson number... thats a stiff competition! Marrionette, Dirt Road And A Boat From Soundwave, Return of the Zombie Bikers, Alpine Rocket, Dump Truck and so many more!

i think mine would probably be "Dirt Road And A Boat From Soundwave" even though its a collaboration. But then what about Marrionette?! too hard to choose

 

[cyst]

ironic then, that some dubstep producers are busy putting noise and crackle back in.

personally i find some of skreams stuff way too digital and clean for my tastes, although i accept thats part of his style (marcus had a great phrase for it which totally escapes me right now).

loefahs stuff is also pretty clean but its so heavy it doesn't seem to matter.

I think the main thing dubstep suffers in this respect is simply the lack of outboard gear. Its obvious when a tune is comprised purely of 0's and 1's and although the digital sound is brilliant in certain productions [mainly those which aim to sound as digital as possible] as a product of circumstance it does sterilise the music to an extent. IMO subtle analogue drive and compression can make the most massive difference, its slightly unfortunate though that alot of contemporary production knowledge stems from internet forums which rarely advocate practices involving much more than cracked plug ins.

 

[elgato]

its true. its expensive though isnt it?!

i'd be interested to know what setup mala uses, his tracks have a beautiful tone

 

[Numbers]

FWIW

I have been blending minimal techno and some electro/ crunk and dancehall even the odd house classic into my dubstep mixes for many months now.

The last one has audion and basic channel: its at the subfm archives below in the link on my signature on the november mix.

there is a full tracklisting here:

http://www.dubstepforum.com/viewtopic.php?t=10829


peace.

Gonna check out your mix as well then, Dub-u. I was already very impressed with the crunk+hyphy mix you did, so I'm really curious.

What I'd really would want to hear though, is 3 or even 4-deck mix of dubstep/grime instru vs minimal techno. If carefully done, it couldn't be wrong.

 

[bassnation]

its true. its expensive though isnt it?!

i'd be interested to know what setup mala uses, his tracks have a beautiful tone

you can get a raw sound with vsts - just takes a bit more effort. burial managed it just using samples, so anythings possible with any set up really. the only limit is your imagination.

 

[the undisputed truth]

i was thinking about this last night: how there's producers who have made their names by being played by the big/core DJs in the scene and others who simply did their own thing and released records despite not getting any plays out at FWD>>/DMZ etc.

You gonna blog about it ??? Maybe vent a little spleen and write the piece you've always dared too but...

...also could somebody please youtube a video of people raving it up to hyperdub or DMZ cos it's just something i'd have to see with my own eyes before i'll believe it. Ive seen stills of people facing the dj with their hands in the air but that ain't dancing

The other thing is, we don't do rewinds here in NZ. It's mostly all about the seamless mix and staying in it as long as possible so you tend to subconsciously time the drops and breakdowns. Although i've read the BD piece on it i still don't get how it works. Does the dj just stop the record and wheeeeeeeeeeeeeeeeeel it back or has he got 2 of the same and what does the crowd do in the mean time ??? Here in NZ if the drop or breakdown sucks or takes too long everyone just walks off the dance floor...

On the subject of outboard gear. It's just horrendously expensive. I 'd be keen to know what monitors and outboard compression, if any, loefah and mala use to 'warm up' their sound.

 

[dubble-u-c]

Gonna check out your mix as well then, Dub-u. I was already very impressed with the crunk+hyphy mix you did, so I'm really curious.

What I'd really would want to hear though, is 3 or even 4-deck mix of dubstep/grime instru vs minimal techno. If carefully done, it couldn't be wrong.

thanks .

Yeah i am working on that type of mixing right now. It takes some practice.

Last months mix has a moment of three deck mixing with some two step. thats it though.