Mad professor the dubs that time forgot rar programs

Mad professor the dubs that time forgot rar programs how to#
Mad professor the dubs that time forgot rar programs series#

You just see everyone вЂ“ sometimes you do a session in the studio and youвЂ™d get three or four people at the same time вЂ“ Johnny Clarke, Earl Sixteen, Ranking Joe, Dennis Brown вЂ“ that would be in my studio in Whitehorse Lane, south London.вЂќ It used to be more like that back in the day. вЂњPeople are more into survival now you knu? People donвЂ™t really get together as one family.

Mad professor the dubs that time forgot rar programs how to#

If you donвЂ™t know how to push it then you wonвЂ™t really get as deep down.вЂќДЄsked about when Jamaican reggae artists in exile would congregate together in London, he misses the old times. When you test the parameters and youвЂ™ve been testing them for years you know exactly how far you can push them, to get the best out of them. You need to imagine what you can get from it. You need to know what it can do вЂ“ the extremes it can go to. I ask Fraser if a great musician should know how to construct his instrument, as well as play it: вЂњDefinitely. I would build amplifiers, speakers everything.вЂќ Like that you have access to all electronic items вЂ“ it was great man! I would build everything. вЂњYou get a circuit and build it, so it was exciting. In the old days if you want an iPhone and you didnвЂ™t have the money, you build one. These days if you want an iPhone and you donвЂ™t have money you buy an iPhone you have to wait and buy it second hand. вЂњIt was fascinating - if you wanted anything and you didnвЂ™t have no money, at least if you knew something technical you stood a chance by building it. The Home Office apparently got involved, and he decided to retreat to the safer environs of the studio. Years before this he would make his own bugging devices, and advertise them in the newspaper with a вЂњNo Secret is SafeвЂќ. Like King Tubby before him he rewires his mixing desks to get them to do what he wants them to. The moos that Lee Perry recorded years before were similarly DIY, if unsuccessful вЂ“ rum-keened and miked up, he spent hours trying to get near cows in a field but found that they kept wandering away.ДЇor all his placidity, one gets the picture of Mad Professor an outcast-eccentric, the kind of kid who measures up social ineptitude with hours puzzling away in a cubbyhole, mind blissfully absent from the present.ДЄs mentioned, like many dub artists, Fraser is an electronics fiend.

Just one way to be done.вЂќ explains Fraser is his benign Guyanese lilt. If I want a donkey going hee-haw I record a donkey. вЂњIf I wanted the sound of an aeroplane flying over, I canвЂ™t get it from a sample, IвЂ™ve got to get a microphone and record when the next plane come. Before it was legal to steal вЂ“ when I wanted a sound there was only one way to get it. вЂњI was mixing with the wrong elementsвЂќ says Fraser cryptically.ДЇraser had a hands-on approach to gathering the samples he would use to fill the bare bones of his dub вЂ“ вЂњWhen I started in 1979 it was before the sampling generation. Mad ProfessorвЂ™s name came with a price: his garden shed in Thornton Heath was inadvertently set ablaze during one of his more cavalier experiments in electronics. His latest solo album, 2009вЂ™s Audio Illusions of Dub heralds a back to basics approach that is still in force when we speak.

Mad professor the dubs that time forgot rar programs series#

His Dub Me Crazy album series was prolific, while arguably his finest album, The African Connection is dense with samples and energy in the mould of King Jammy and Scientist.

Recently he has been working with modern roots reggae artist Luciano on an album, and is all around the world with his multi-track manipulating live dub shows. Mad Professor can do all that too, but is perhaps most famous for his reworking of Massive AttackвЂ™s second album вЂ“ No Protection. His use of digital equipment has led to a generally cleaner and yet more eccentric style, branded as sterile by people unwilling to relinquish the warmer clicks, hisses and moos of PerryвЂ™s Black Ark output. Mad ProfessorвЂ™s work as part of the second generation of dub has been to expand the remit of dub artists вЂ“ he has had to span the journey from analogue to digital, and to operate with founding fathers as imposing as King Tubby, Augustus Pablo, Lee вЂњScratchвЂќ Perry and King Jammy to contend with. вЂњEvery object has a shadow.вЂќ This is Mad ProfessorвЂ™s explanation of dub вЂ“ the oblique polymer helix of a track, the songвЂ™s manipulated skein that through reduction lulls you into trances using sounds you didnвЂ™t know were there.