Winston Riley at Techniques Records on Orange Street, Kingston Jamaica, 1995 | photo courtesy of David Corio

Such is the genesis of this first Sub-Bass, which mourns the passing of Jamaican producer Winston Riley while honoring his extraordinary career trajectory, making hits with bold new sounds for an astonishing five decades. Recent rewards of sampling had helped Riley expand his operations, adding a recording studio and even a music museum to his store on Orange Street, Kingston’s shabby Tin Pan Alley. But though greatly loved and respected, Riley clearly had his enemies. His death on January 19 following a gunshot at his home, was the last round in a grim series of attacks, from a stabbing to the burning of his Orange Street operation, which he later re-built. No-one has been arrested and no motive is known.

Winston Riley at Techniques Records on Orange Street, Kingston Jamaica, 1995 | photo courtesy of David Corio

Riley’s first group, The Techniques, were part of a wave of harmony trios that dominated Jamaican music in the early 1960s, right round the time of the island’s independence. Heavily seasoned with Afro-American influence, trios like the Techniques, the Wailers and Toots and the Maytals were following the template laid down by people like Curtis Mayfield and the Impressions. That great master from Chicago helped move street corner doo-wop into the stirring, wrenching sounds that came to mean “soul” around the world, with a humanistic political philosophy that made us feel a gangster’s wounded manhood and understand the reverence a man can feel for his Queen. In fact, one of the Techniques’ most loved tunes is “Queen Majesty”, a version of a Mayfield song, “Minstrel and Queen”.

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After the Techniques, Riley kept on pioneering. His UK number one instrumental ska hit with Dave and Ansel Collins, 1971’s Double Barrel helped spark the mod/ska boom. Later in the decade, another massive riddim for Riley, and a great favorite at King Tubby’s Sound System, was a lethal one-drop bass which he named “Stalag 17″.

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Thus, the haunting, heavy instrumental is forever linked to the 1953 tragic-comic Second World War prisoner escape flick of the same name Stalag 17, shot with typical brilliant cynicism by my favorite director, the great Billy WIlder. Take a look at the trailer for Stalag 17 here.

The “Stalag 17″ riddim attracted several top DJs including U-Roy and Big Youth. Its appeal never waned, and in the mid-80s, Riley re-vamped it again for another round of hits with a new generation of DJs. The version that stuck hardest was cut by a slight youth named Tenor Saw, born Clive Bright, as “Ring The Alarm”.

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A true “ghetto star,” Tenor Saw came from the least materially privileged of an economically depressed underclass. He first flourished as the teenage protegee of another late Jamaican great, the socially-minded raggamuffin, Sugar Minott. Tenor Saw’s reedy, edgy singing matched the gripping lyrics: “Ring the alarm! Another sound man dying!”

The track became his prophetic legacy as just two years later, the 22 year old sound man’s body was found among some bushes at a roadside in Houston, Texas. Like Winston Riley’s death, Tenor Saw’s demise remains a mystery. The many rumors swirling round Tenor Saw’s death prompted a DJ tribute, “Who Killed Tenor Saw” by his old compadre, Nitty Gritty.

If “Ring The Alarm” may now seem to have a sinister frisson, thankfully that doom never touched the seemingly invulnerable Beyonce. She may spend more time in snazzy St. Bart’s than downtown Kingston, but Beyonce clearly still likes to think of herself as a Rude Gyaal. Last year’s “Girls (Run The World)” was based on Major Lazer’s dancehall tune “Pon De Floor”. But as far back as 2006, Beyonce was feeling dancehall with her take on “Ring The Alarm”. Producer Swizz Beatz, no stranger to dub and reggae, brought her the idea and co-produced. But the sparse, clangorous neo-dancehall of “Ring The Alarm” left Beyonce fans bemused with its unaccustomed aggression. It shows the ruff face of Beyonce, the one who’d spit in the dust and ball her fists to fight and scratch for her man. In fact, the very role Beyonce went on to play in her 2009 Obsessed movie co-starring Idris Elba!

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On this live MTV Awards performance of “Ring The Alarm”, Beyonce is unusually covered up, in her high-necked ankle-sweeping trench coats, a bit like those of the German officers in Billy Wilder’s Stalag 17. Who knows whether Beyonce realized the role she was playing in the conceptual heritage of her song; but as dramatic searchlights sweep the stage, we see her swing down from on high, and hear an announcement — Beyonce’s a prisoner, busting out! The synchronicity is too great. Surely Beyonce knows the original “Ring The Alarm”, and that it was based on “Stalag 17″, which in turn was inspired by the Billy Wilder comedy escape flick set in a P.O.W. camp!

If she doesn’t, let’s hope she reads this and joins us in giving respect to the late greats who showed us how to find laughter even in the midst of tragedy, and to persist in what you believe in, even at risk of your life: Winston Riley, Curtis Mayfield, Tenor Saw, Sugar Minott and Billy Wilder.

Vivien Goldman is a journalist, educator, and musician from London. She currently lives in New York City. Goldman’s fifth book The Book of Exodus: the Making and Meaning of Bob Marley & the Wailers’ Album of the Century was published in 2006 on Three Rivers Press.

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Unravel electronic music’s origins, build your chops, learn the language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music, strengthen their keyboard skills, and learn valuable music theory skills, deepening their creative practice and facilitating effective collaborations with musical partners.

What’s Included:

• Essential Music Foundations Level 1: Electronic Music Appreciation
• Essential Music Foundations Level 2: Keys & Melodic Theory
• Essential Music Foundations Level 3: Pads & Rhythmic Theory

This course exceeded my expectations. I went through everything I needed to have a solid knowledge of basic music theory.
- Jonathan Crespo, Miami

EMF (Music Foundations) has been an amazing experience! I didn’t realize I was going to learn so much about electronic music history, something my generation missed.
- Yianno Koumi, United Kingdom

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By Mike Steyels

It’s about the sound. It’s about the feel. It’s a passion born of tradition, comfort, and necessity.

The culture surrounding 7″ vinyl in New York City is a scene driven by DJs, where casual listeners are rare. While weekend collectors and club DJs generally gravitate towards the 12″, which is named after its diameter, 7″s are the tool of a select few here. The reggae selector is the primary culprit in this corner of the world. But those with global interests are frequently involved too. Whether it be Latin sounds or the music of Africa, it often finds its way onto these nimble discs. And it’s not uncommon to see the funk and soul side of things represented either. (Punk and hardcore are devoted to the format as well, but that’s another story.)

As is the case with vinyl purists in general, 7″ record collectors firmly believe the sound of a record is simply unmatchable by any newer technology. They are also called “45s” because of the speed at which they are played on a turntable. 45s first appeared in America 1949, produced by the company RCA Victor.

“A 7″ has a wide groove and a warm, loud sound,” explains Bobbito Garcia, a longtime DJ and owner of Álala. “I’m a firm believer in beautiful, uncompromised sound and digital still hasn’t caught up. It just doesn’t hit as many points on the sound wave.”

Liondub, who has an imprint dedicated to the format called Liondub45, agrees: “7s are small, simple, they sound incredible and are so much louder than other records. Juggling mid 90’s dancehall and reggae on 7″ is by far the best experience for me as a dj…tactile, light, fast, loud and mad fun!”

“Their compact size makes for easy travel,” adds Dubspot instructor DJ OBaH. “I buy more 7s these days than 12s”

[Nickodemus - "Gimme the Music" | Wonderwheel 2011. Photo of Scratch Famous from Dealy Dragon by Gozilah.]

Many vinyl enthusiasts don’t check for digital releases at all. And a number of reggae DJs don’t even use computers. So the only way to reach certain crowds is by pressing vinyl.

Some people, like Emch from Subatomic Sound, who take full advantage of what technology has to offer, recognize this and make sure to have wax ready for them. “We typically press 45s of our most reggae and dub leaning releases because we know reggae DJs more than almost any other still play vinyl and want the songs in that format,” he tells us. In fact, the B-sides of the 45s prevalent in early reggae culture spawned the genre known as dub.

The world of 7s can be as small as the discs themselves, and many of the stores that sell them also have them pressed. “We’re a tight, small community. We all know each other,” says Mari Ayabe from Concent Productions. He sells those records in his Williamsburg shop MeMe Antenna. Alongside Concent releases are those by other local labels like the global sounds of Electric Cowbell and the beats and breaks of Bastard Jazz. “A 7″ is cheaper to produce and more affordable to purchase than a 12″,” he adds. Academy Records in the East Village has also started pressing their own rare African funk with the help of Voodoo Frank. But of course Deadly Dragon Sound is the largest purveyor of 45s. The walls of their tiny Lower East Side reggae shop are stacked high with them, including a few dozen singles they released themselves.

If there’s any indicator that 7″ culture has solid momentum in New York, it’s the brisk pace of business done at the Brooklyn Phono pressing plant. “This year we have had around 40 new labels produce 7s – not including pre-existing clients,” says Fern Vernon Bernich, who runs the plant along with her husband. And while they have four machines for 12s, their lone 7″ machine is in constant use. As is the case with many of those involved, Phono plays an active role in the community. They don’t require a minimum, allowing labels and artists to press only what they need. They also let them use their space for silk screening, make rubber stamps, and offer breaks wherever they can.

In the end, it’s just about the love. It’s the one point everybody stressed. Whether it’s the ease of use, the quality of sound, or the bond it creates, they all just enjoy it. Bobbito summarizes it like this: “I’m devoted to vinyl. I play vinyl at home and do 100 percent vinyl sets. So it just makes sense to provide for others like me.”

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Processing Live Vocals With Ableton Live: This video is really aimed at folks who want to take advantage of Ableton Live’s powerful effects and use them for live vocal performance, whether you’re a singer for a band or a DJ who wants to process some vocals during a set. This is also for producers who what to know how to route vocals into Live and work with the vocoder effect.

A Little Background: I’ve always been a bass player and have spent countless hours obsessing about my sound. In order to get the sound I wanted, I learned to process my bass through effect pedals. As a producer, I spend a lot of time processing vocals and tweaking the sound. The first shows I did with Comandante Zero, were typical of New York City clubs: the sound engineer sticks a Shure SM-58 in front of your face and the sound of your voice is at the mercy of the guy behind the board. I quickly realized that, if I had full control over my bass sound, why not my vocal sound? At first I bought vocal effects pedals. There are some great pedals out there, however, since we were using Ableton Live to run our set anyway and I use it to effect vocals when I produce, I decided about 2 years ago to figure out a way to route the vocals through Ableton Live in order to streamline my equipment, and also replicate on stage the sounds I was getting in the studio.

Pros And Cons Of Processing Vocals With A Laptop:

The Pros: There are really powerful advantages to processing your vocals through a laptop running Ableton Live. Firstly, you have far greater control over the sound than most pedals. Secondly, if you are playing tracks though a laptop as well, it is really simple to synch the effects to your global tempo, especially delays. Thirdly, you can create vocal arrangements using tools like vocoder or looper that would be perfectly synched to your master tempo.

The Cons: Firstly: You really have to understand the signal path and get it right. In figuring this stuff out, I’ve definitely had some unhappy encounters with feedback etc. The signal path below definitely comes from trial and serious error. Secondly, you may run into latency issues, however, if you keep your buffer low (as I’ll explain below) and avoid external plug-ins that my use too much CPU or destabilize Live you should be OK. Thirdly, there is always the slight danger that your laptop may fail. I would say, get to know your signal chain and gear inside and out and come up with a back-up plan. Live is very stable and in the hundreds of shows I’ve done with it, it hasn’t failed me yet (knock on wood!) however, I still have a back-up plan in case it does.

My Signal Path for Processing Live (And Studio) Vocals:

My signal path for running vocals through a laptop running Ableton is as follows: Mic –> Pre-Amp –> Compressor –> Soundcard / Laptop –> DI Box –> PA.

Let me just say a little about each one:

Mic: I tend to use an SM-58 dynamic mic for live performance. It’s sturdy, relatively cheap and doesn’t require phantom power and I’ve found that dynamics have fewer feedback issues than condensers which is important when really processing the vocals. (I love condenser mics in the studio though). Plug the mic into a pre-amp, ideally using an XLR cable

Pre-Amp: You want to get something that adds some gain to your vocal signal before it hits the laptop. I’ve found that it always works better to have plenty of gain on vocals going into a laptop rather than use your laptop to add gain. In the studio I use a Great River ME-1NV. For live I use a TC Helicon Correct Pedal which provides a pre-amp and compressor in one pedal.

Compressor: A Compressor in your signal chain will smooth out some of the dynamic peaks of the vocal and also give you an opportunity to add a bit of gain if necessary. Ideally, for vocals going in you want to use a gentle ratio 2:1 with a faster attack and slower release. In the studio, I love the Empirical Labs EL-8 for vocals. For live I simply use the TC Helicon’s built in compressor.

Sound Card: The soundcard is what converts your audio to digital so that your laptop can process it. For live performance I use the MOTU UltraLite-MK3. If you’re going to be doing live vocal performance with a laptop, there are a couple of important things to keep in mind about your soundcard: 1. Make sure it’s Firewire rather than USB. 2. Make sure it has more than two outs. 3. Unless you have some serious cash to spend, or have some techs taking care of your stuff, get something in the 300 – 600 range. For live, unlike the studio, pristine audio is not as crucial and stuff happens on gigs. Check out this blog post I wrote to see more on this topic and some options.

DI Box: Once the the signal is processed by Ableton, it goes back out through the laptop and gets converted to audio once again by the sound card. (In my case the MOTU Ultralite-MK3). I like a DI at the end of my signal chain because the MOTU only has 1/4 inch outputs. My Radial DI Box allows you to plug in an unbalanced 1/4 cable and convert it to a balanced XLR cable. Thus you will send an XLR out to the house which will cut down on the noise of an unbalanced cable.

Setting Up Ableton Live to Process Vocals:

1. Go to Live’s Preferences and select the ‘Audio’ tab. Select your audio input and audio output device there. Also, make sure to set your Buffer Size to either 128 or 256 Samples. You want to keep it low to prevent latency.

2. Create an Audio Track in Session View (Use to Command-T key command) and then hit Option-Command-I to access the track’s In/Out Section. (You can also do this by hitting the I-O button on the lower right hand side of Live’s Session View)

3. Bring the fader all the way down! In the ‘Audio From’ tab, choose ‘Ext In’ and the channel you are sending stuff into your sound card. Set the ‘Monitor’ section to ‘In’ and you’ll see the track activate button turn orange. Then in the ‘Audio To’ tab select Ext Out and select the channel the audio will go out of on your sound card. (You can also send it to the master and set up the master to go Ext Out) For live performance, I generally don’t route through the master because I like each track (Vocals, Drums processing, Click, Tracks) etc. to exit on their own channels of the sound card, but that’s just me.

4. Now slowly bring your fader up slowly and you should see the audio registering in the meter and hear yourself coming from the speakers, headphones. If you hear feedback, immediately kill it by pulling the fader down, de-activating the track or pulling down the volume on your PA.

Building A Vocoder:

The vocoder is a cool and fascinating effect. It was originally developed as a telephone communication technology in the 1920’s and 30’s and during World War II it was used to transmit encrypted messages for high level military communications. This vocoder, known as SIGSALY weighed 50 tons and took up a whole room. If you want to read more about how it works, read here.

To set up a Vocoder within Ableton, we need two tracks: an audio track and a MIDI track. Let’s use the audio track that you set up to get your vocals into Live and create a new MIDI track (Shift-Command-T). Here are the steps to set it up:

1. Go to Live’s Device Browser and find the Vocoder in the Audio Effects folder. Drop it into the Audio Track. The track with your voice is known as the ‘Modulator‘ part of the vocoder. Speak into it. It’s default is set to ‘Noise’ which is probably not the sound you want, but you should see signal going into it.

2. Now we’ll create the ‘Carrier‘ track that will provide the harmonic information. In the MIDI track, place an Analog from Live’s Device Browser. Click on the section that says ‘Amp 1′ and you’ll see it turn white. Inside the black display section of Analog, you’ll see a number under the heading ‘Sustain’. Raise this up from 0 to 1.00. You should see the shape of the envelope change so that it looks almost like a rectangle.

3. If you want to control your vocoder with a keyboard, either arm the MIDI track to record or set the Monitor to ‘In’ (As we did with our original audio track). Don’t do both through. Now when you connect a MIDI keyboard, you should hear the Analog play longer tones with its default sawtooth wave.

4. Really Important – Now deactivate the track by clicking the yellow (or orange) square with the number below the track’s pan knob.

5. Go back to your audio track and go to the Vocoder effect in the track. On the menu on the upper left of the instrument, select ‘External’ and in the menu tab below it, select the track that has the Analog. (Your carrier track)

6. Now hit a chord on your keyboard and speak into your mic and you should have a vocoder. Remember that with a vocoder you need both a Modulator and a Carrier. If you speak into the track without holding down a note from the Analog, you won’t hear anything. If you hit a note on the Analog without saying anything, you won’t hear anything either.

Some Settings On Ableton Live’s Vocoder:

A couple of useful knobs and parameters to tweak to get different colors from the vocoder:

1. Bands: Fewer bands = More Old School. More bands = More intelligible. Try it.

2. Range: I tend to set the lower range of the vocoder to about 200 Hz since I don’t want the lower frequencies interfering with my mix.

3. Precise/Retro: Different Colors – try it.

4. Gate: For live performance, this is very useful. It sets a gate so that below a threshold the vocoder won’t pick up noise. I tend to set mine to -40db.

5. Formant: To the left you get more of a ‘Male’ character. To the right more of a ‘Female’ character. Try it.

6. Dry/Wet: How much vocoder versus how much of your natural voice you want.

Using Live’s Vocoder For Live Performance:

The challenge with a vocoder for live performance, as opposed to using it in the studio, is that to get it to work, you need to play chords on a keyboard as you sing. If you’re not a keyboard player, or don’t want to be burdened with the extra gear, it can be a pain. (This is one reason I don’t use my MicroKorg vocoder, which I really like, for live shows since I’m a bass player and don’t have 3 arms). This is one nice thing about using Ableton to process your vocals, because not only can you create a hands-free vocoder, but you have a lot of power to create cool vocal arrangements with it. This is the technique that I use:

1. I take the song that I want to use the vocoder on and place it in Live’s Session View and Warp it.

2. I copy and and paste the clip (using the Command-C and Command-V key commands) into Live’s Session View, so it’s laid out left to right and I can see the entire track and which bars I’m going to be singing on.

3. In arrangement view I create a MIDI clip (Shift-Command-M) the exact length of the song and program the chords that I want to use at the exact points in the song they will come in. For example, if my chorus starts at bar 16, at bar 16 in the MIDI clip, I’ll pencil in or play a B – Flat chord that lasts, say, two bars.

4. Once you’ve finished programming this MIDI clip, copy it and drop it into the same scene as your backing track. Make sure you place it in the ‘Carrier‘ track with the Analog . When you launch the the scene, the MIDI notes in the carrier with be send to the modulator track as you sing into it. Then you will have a hands-free vocoder.

Our music production program is custom-tailored to fit your musical style. You can choose from several Digital Audio Workstations including Ableton Live, Logic Pro, or Propellerhead’s Reason.

After completing this program, you will leave with 4 completed tracks (EP), a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

• Ableton Live Level 1: Shake Hands with Live
• Ableton Live Level 2: Completing Your First Track
• Ableton Live Level 3: Production Essentials
• Ableton Live Level 4: Sound Design & Instrumentation
• Ableton Live Level 5: Advanced Composition & Production
• Ableton Live Level 6: Taking Your EP Global

“So far the experience through Dubspot is incredible, and I can’t wait to go through the next levels. It’s just getting better each week, and I can not wait to start putting an EP together, not just being able to put a successful track together!” - Dan Carter, United Kingdom

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

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Loco Dice has been tearing up clubs and DJ playlists over the past 7 years with a blend of house and techno that has appeared on labels such as Ovum, Desolat, Coccoon, and M_nus. With a sound that straddles minimal techno and funky house, Yassine Ben Achour has quickly become a star of the DJ circuit. Dubspot’s Alex Burkat caught up with Loco Dice for a chat this past December while he was getting ready to hit the decks at Pacha in NYC.

Alex Burkat edits videos at Dubspot, DJs/produces bass music as Rx, and is part of a Philadelphia based DJ / art collective called DUSK

.

Related Dubspot Courses Starting Online & in New York City:

Digital DJing w/ Traktor Pro 2 Program starts February 5th Online.

DJ Extensive Program

Immerse yourself in the complete art of DJing from beatmatching to stage presence. Whether you’re a beginner in search of the fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing. Learn more about our DJ courses and programs.

What’s Included:

• DJ Level 1: Rookie Sessions | Essentials I
• DJ Level 2: Phrase Mixing | Essentials II
• DJ Level 3: Beyond The Blend | Intermediate Skills
• DJ Level 4: Preparation | DJ Psychology
• DJ Level 5: Classroom to the Club | Advanced Techniques I
• DJ Level 6: Club to the World | Advanced Techniques II

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college   teachers  were more like these two!” – Leandro Martinez, Chicago IL

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

In the final installment of our three-part video tutorial series exploring the creative production and performance possibilities of Native Instruments versatile groovebox Maschine, Justin Aswell of innovative Charlotte, North Carolina-based hip hop group Mr. Invisible offers some practical live performance advice, tips and tricks for DJs, musicians and performers. This is an essential video tutorial if you’re looking to incorporate Maschine into your live setup. Justin Aswell explains and demonstrates ways to avoid common pitfalls many electronic musicians face when they are playing live; from using a delay effect to maintain a consistent BPM to triggering multiple hits and samples on a single to help you become more efficient when playing live.

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Native Instruments MASCHINE redefines hardware and software integration for music production and creative performance. Upon completion of this program, you will have written a full original track using multiple plug-in instruments and effects, produced a remix based on rearranged source material with your own musical additions, and made recordings of yourself improvising with both projects while creating break downs, build ups, and effect manipulations.

What’s Included:

• MASCHINE Level 1: Programming and Beat Making Basics
• MASCHINE Level 2: Sampling, Slicing and Composing
• MASCHINE Level 3: Advanced Production and Performance Techniques

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In the second installment of our three-part video tutorial series exploring the creative production and performance possibilities of Native Instruments versatile groovebox Maschine, Justin Aswell of the innovative Charlotte, North Carolina-based hip hop group Mr. Invisible explains and demonstrates the fundamentals of finger drumming. From hand position and pad placement to adding rhythm variations and flair, Justin Aswell covers some basic and essential tips for someone who is just starting out, and then goes in further to offer more complex techniques for those who are already familiar with pounding pads. At the end of this tutorial you should have a good grasp of how to play drum pads with your fingers, and those who are not so new to finger drumming can definitely build on their working knowledge of drum programming and become more efficient.

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Native Instruments MASCHINE redefines hardware and software integration for music production and creative performance. Upon completion of this program, you will have written a full original track using multiple plug-in instruments and effects, produced a remix based on rearranged source material with your own musical additions, and made recordings of yourself improvising with both projects while creating break downs, build ups, and effect manipulations.

What’s Included:

• MASCHINE Level 1: Programming and Beat Making Basics
• MASCHINE Level 2: Sampling, Slicing and Composing
• MASCHINE Level 3: Advanced Production and Performance Techniques

Click here to view the embedded video.

Rising UK-based electronic music producer and DJ Krystal Klear took a break from a recent US tour to visit Dubspot NYC and talk to us about his early influences, music technology, retro-synths, Manchester’s Hoya:Hoya collective, and much more. The Hoya:Hoya resident is one of the most refreshing and exciting producers and DJ’s coming up. Heavily influenced by late ’80s and early ’90s electro funk and disco boogie and hip hop beats, he’s now crafting his own unique jams like “Tried For Your Love” and “Greensilver” which are absolutely undeniable on the dancefloor. In our interview, he also offered invaluable advice for other up and coming producers.

Krystal Klear – Tried For Your Love (ACKK12×1) by allcitydublin

Krystal Klear was also a participant at the 2011 Red Bull Music Academy event which took place this fall in the Spanish capital Madrid, where he had the opportunity to listen and learn from industry legends and heavyweights like Frankie Knuckles, Erykah Badu, and DOOM. And also collaborate with other rising artists using the latest music production and performance technology.

Pistol Chauffeur – without Talkbox by KrystalKlear

This week we are excited to present something special for Dubspot Podcast 026. This DJ mix comes from NYC turntable legend and Dubspot instructor, DJ OBaH, who has been holding down a soulful corner of the NYC DJ scene for some time now. OBaH took a moment to explain the theme of this podcast for our readers. “This mix is entitled ‘Cajun Style’.  It is a musical tribute to New Orleans funk music so I dug into funky bag and picked out some of my favorite classic and current funk tunes to cultivate this mix.  I wanted it to be smooth bridge between past and present tunes that share that funky quality”

Dubspot Podcast 026: DJ OBaH (Oldskool Beats and Harmonies) – Cajun Style by Dubspot

Grover Washington Jr. – Loverman (Chef Gourmand dub)
El Michels Affair – Walk on by
Hypnotic Brass Band – Prelude
Lee Dorsey – Give it up
Poets of Rhythm – Smilin’ while you’re cryin’
The Black Keys – Everlasting light
The Heavy – Coleen feat. The Dap Kings horns
Oddisee – The Carter Baron
The Ambassadors – Ain’t got the love
War – A day in the life
Salt – Hung up
Cyril Neville – Tell me what’s on your mind
The Meters – Hand clapping song (Hansi’s edit)
Mary Jane Hooper – I’ve got reasons
Ernie K. Doe – Here come the girls
Eddie Bo – Check your bucket
The Gaturs – Cold bear
James Brown – My thang (Pied Piper edit)
Inell Young – What do you see in her
Eldridge Holmes – Where is the love
Ray J – Wright place, wrong time
Mighty Riders – Evil Vibrations (Copycats edit)
Unknown Artist (Chairman Mao mix cd) – Be thankful for what you’ve got
Rhythm Makers – Soul on your side (Manmade music edit)
The Roots – Melting pot
Jimmy Castor Bunch – It’s just begun
Gil Scott Heron – The bottle
Incredible Bongo Band – Apache
Ballinjack – Found a child
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DJ OBaH (aka Oldskool Beats And Harmonies) is an instructor of DJ at Dubspot and one of NYC’s local legends who’s gained a reputation for weaving funk, soul, hip hop and old school vibes into powerful sets for clients such as Alicia Keys, Lenny Kravitz, Donna Karan, Louis Vuitton, Vogue magazine, DKNY Jeans, Yahoo, Krs-One and Brand Nubian. As the son of veteran NYC DJ, Baba Chico, DJ OBaH is continuing a family tradition of keeping history alive through an impressive collection of funk, jazz & soul records that have become his trademark sound.

Obah started this path at NYC’s legendary APT club where DJ Rich Medina gave Obah his first break to DJ for a proper crowd. Since then, OBaH has spun in well over 75 venues around the world including a stop at the Czech Republic’s largest music festival, “Colours of Ostrava,” where he provided opening, closing and afterparty sets. But this hasn’t taken Obah out of his home base in NYC. He still DJs on a weekly basis in his home city while simultaneously teaching DJ skills to the up and coming at Dubspot.

As a producer Obah has created original compositions and remixes for TV and film. Several of his tracks have been featured on networks such as MTV, BRAVO, HBO, NBC, A&E and his remix of ESL recording artist Ocote Soul Sounds landed him a full page feature article in DJ Times magazine (march 2010). DJ Obah can also be heard on the Giant Step jukebox radio as host of his own show, Recycled Funk.

DJ Extensive Program

Immerse yourself in the complete art of DJing from beatmatching to stage presence. Whether you’re a beginner in search of the fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing. Learn more about our DJ courses and programs.

What’s Included:

• DJ Level 1: Rookie Sessions | Essentials I
• DJ Level 2: Phrase Mixing | Essentials II
• DJ Level 3: Beyond The Blend | Intermediate Skills
• DJ Level 4: Preparation | DJ Psychology
• DJ Level 5: Classroom to the Club | Advanced Techniques I
• DJ Level 6: Club to the World | Advanced Techniques II

“I love the class, and the content! Shiftee and Endo are very funny, and very clear, so the material is easy and fun to follow! I wish my college   teachers  were more like these two!” – Leandro Martinez, Chicago IL

Digital DJing with Traktor Pro 2 Program

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside more traditional turntables and CDJ’s, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the Digital DJing with Traktor program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

What’s Included:

• Digital DJing w/ Traktor Pro 2 Level 1: Introduction to DJing
• Digital DJing w/ Traktor Pro 2 Level 2: Phrase Mixing
• Digital DJing w/ Traktor Pro 2 Level 3: Beyond The Beatmatch

Starting with a historical overview, students will learn the fundamental concepts of the DJ via Traktor’s intuitive interface. They will then begin to delve into the vast array of new possibilities offered by this groundbreaking software, presenting their work along the way. Students will leave with finished DJ mixes, a thorough exploration of DJing with Traktor, and a skill set and knowledge base perfect for further development.

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Click here to view the embedded video.

This new decade has been a great one for music. New tools for creation and discovery mean unprecedented access to an unknowable amount of music. One can find pretty much anything they’re are looking for these days if they dig hard enough. And as a music writer, I frequently do make that effort. But sometimes it would be nice to create that sound I’m seeking instead of hoping somebody else will.

Now that I’m beginning the Ableton Live Producer Certificate Program at Dubspot, I have the perfect incentive to learn some of those tools. I’ll be able to contribute to the conversation with music instead of just words.

And I’ll be writing about my experience in the classroom here on this blog regularly, offering readers an opportunity to see what taking a course here is like.

The classroom setting has never been one I was very comfortable in, but Dubspot is no ordinary school. Many of the teachers here are artists I’ve respected and been a fan of for years. And the full studio set up at my fingertips is much more exciting than any study hall.

My biggest interest is diversity and uniqueness of sound palette, and I usually find that through electronic and world musics – nebulous as both those categories are. Personally I prefer heavy and energetic moods and am significantly influenced by hip hop. It’s hard to pick one artist out of so many to highlight as a favorite. But some of the names that have had a steadily updated presence in my playlist over the past few years are Shackleton, Nguzunguzu, Jahdan, 2562, Pacheko and Sepalcure. I’ve covered local and international sounds with lots of beats and bass, delved into the array of music coming from my neighborhood of Bushwick, Brooklyn, and interviewed a number of the world’s better known electronic talents.

I chose Ableton because it seems intuitive to start with, yet it’s extremely powerful with a deeper understanding. I also wanted to learn a program that was useful for more than just making music, and could be used for making studio mixtapes or live performances.

Through these classes, I hope to gain a deeper understanding of the subject I cover, become a more engaged member of the musical community, and take further advantage of the unique wealth of knowledge at Dubspot. And hopefully you’ll join me, because it will be an educational experience for us all.

– Mike S

Our music production program is custom-tailored to fit your musical style. You can choose from several Digital Audio Workstations including Ableton Live, Logic Pro, or Propellerhead’s Reason.

After completing this program, you will leave with 4 completed tracks (EP), a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

• Ableton Live Level 1: Shake Hands with Live
• Ableton Live Level 2: Completing Your First Track
• Ableton Live Level 3: Production Essentials
• Ableton Live Level 4: Sound Design & Instrumentation
• Ableton Live Level 5: Advanced Composition & Production
• Ableton Live Level 6: Taking Your EP Global

“So far the experience through Dubspot is incredible, and I can’t wait to go through the next levels. It’s just getting better each week, and I can not wait to start putting an EP together, not just being able to put a successful track together!” - Dan Carter, United Kingdom

Start dates and information about payment plans can be found here.

Or if you have questions, please call 877.DUBSPOT or send us a message.

Click here to view the embedded video.

New York’s Dj Spinna (aka Vincent Williams) is a legend in hip hop and house music who has worked with giants such as 4 Hero, Mary J Blige, Stevie Wonder and De La Soul. He’s also worked with hip hop revolutionaries like Eminem, Mos Def, Talib Kweli, Pharaohe Monch,  Brand Nubian, Masta Ace, Guru, and The Jungle Brothers. As a DJ Spinna performs both house and hip hop sets with a high degree of technical precision as a scratch DJ and groove rider. As a producer he’s prolific with soulful house and downtempo outings that ooze with classy funk. He’s a staple in NYC’s history of electronic music and a true hero of the underground.

Click here to view the embedded video.

Click here to view the embedded video.

After years of success in the studio and on the road, DJ Spinna wanted to up his game with technology and turned to Ableton Live as a new platform for production.”I’ve been toying around with ableton for a few years but honestly, I’ve been scared of it. I know what it’s capable of, especially with the warping features, but I want to use it full on out for production”

In this video Dubspot’s DJ Kiva (who recently had some success of his own with the 1000 Sunrises album) leads Spinna through the paces of using Ableton Live for production and remixing. You can pick up some quick tips on effects routing, using parts of other Ableton sessions and an overview of how to navigate through Ableton’s multiple instrument packages.