Daniel Boyle - Dub mix producer interview
HTML-код
- Опубликовано: 14 июл 2016
- Click here to subscribe
ruclips.net/user/subscription_c...
George Shilling met up with Grammy nominated Dub mixing engineer and producer Daniel Boyle at his own studio in East Anglia, UK. Visit www.RecordProduction.com for 500 more producer and studio features. 
Видеоклипы
Thank you for this interview! It was very interesting
Absolutely love this channel. I like how he talks business too.
Really interesting, thanks for posting
Fantastic Video ! great Inspiration :)
Love the console & Studio big love.
Big up Daniel
Daniel your sound is great, best from germany.
Nice!!
thx a lot for this interesting and inspiring content :-)
This was nice. I love hypnotic Reggae-Dub. Been listening to alot of: Lee Perry, Scientist & Sly & Robbie - while on Covid-19 Lockdown in NYC. oNe LovE
Same. I slept on it for years. Sadly. Out of all the Jungle, DnB , Hip hop and Reggae I've known, I just kept saying " ill chk out Dub soon." Should have paid attention from the jump. Scientist and Bad Brains'Dub Stuff we as my introduction. Now I'm loving it.
great tutorial
He knows his stuff and a very enjoyable interview. What is the name of that tune Daniel played?
Nice1 EvenBetter its from max romeos album ''horror zone''' track called ''the sound of war'' :)
Style Scott I definitely got some tracks credited to him.
Cool he’s using soloing instead of fader mutes
great interview, how many Auxs are on that desk? doesn't look like many
You don't need aux if you send the direct out of a channel into another channel (let's call it Channel [Isend] for instrument-send), and route [Isend] to a bus / group and NOT to the main mix. Route that groups' output to your fx, and return the fx output to another channel (let's call that [FxReturn]).
Now you can send your instrument to the fx using a large fader (of channel Isend) instead of a small rotary pot, and control the return level of the FX on FxReturn.
You will need a mixer with plenty of channels though -twice as many as you have audio tracks.
2 aux and 2 busses are enough for a good dub session, auxes for time fx(dly rvrb), busses for freq fx(filter phasor) then make your chains. a good pich shifter is relly graet in many configuration but no body in dub seem to think about it
5 sends on that console :)
@@IUsedToBeAPygmy i do not understand your explanation
Whats the delay used here?
i think yur talking abount space cat? go see his website. the reverb with filter is a vemona
what is that desktop delay unit? anybody know?
You mean the vermona retroverb?
it's an s-cat dubsta digital delay, i happen to recasing one in a rack box for a client
@@baddriddimworkshop Yes! Thank you
Slippers
I don't think it's so cool to try to copy all the gear, mic positions, etc, that they where doing back in the late 60's and early seventies. they are hudge inspiration for creativity, but the future of sound has to go on. these guys were precursors but copying every move they made is just not being creative. that S-Cat's delay is the kind of cool stuff you can work with in nowadays(scratch's got one of course), no need to spend 1500 quid to get a roland, live with your time!
the creativity in jamaican music comes from the lack of money to buy expensive stuff, also because i is came from the ghetto, and the fact that it was real complicated to get high end audio gear delivered to the island, especially in the 50's/60's(in the early 60's it was almost impossible for a independant jamaican studio to get a hammond b3 deliverd, but jackie mittoo's baddest sounds comed from cheap farfisas). that's why the jamican sound was reputed to be rough and tough, even in the calypso era; the sound of a jamaican mento recording was recognisable for its harsh sound but full of frequencies and vibes? IMO
maybe, i guess he's being more of a curator though, when Black Ark studios burned down, it was a disaster, fair play to the man for trying to recreate it, i see parallels with the project at bletchley park to recreate the original colossus electronic computer. Fair play to the man. Big UP!
that's what they all do. that's why 201's and atecs are so expensive
yeah, i see your point. I guess scratch and his friends built all this stuff from broken tv sets, radio components etc. (Isn't there a video somewhere of scratch burying a tv set in adrian sherwood's garden ?) So while people were working with expensive rigs in US, these geezers were replicating those setups with handcrafted equipment. Which, by accident maybe(... ffs :-)) created a new sound, out of these externally imposed constraints... I guess the real test would be to create it all analogue, ~component for component, with no simulation at all. I'm not saying this will create something new, but it would be a great project to honour the musical contribution that he gave the world, just my opinion fella :-) goo.gl/78ypy2 , goo.gl/RfY7gk
that's exactly my point and the goal of my personal work. please check my channel...
do you know the difference between a dx100 and a dx27? one is sold 400€ the other 70€... jammy used the dx100, but a dx27 is a dx100 with more keys lol