Dub

History and character

Dub emerged from Jamaican reggae between the late '60s and early '70s as the instrumental 'version' on the B-side of 45s. A frequently cited catalyst is the dub plate of "On the Beach" by the Paragons, prepared in 1968 for Ruddy Redwood's sound system, in which the engineer Byron Smith accidentally left out the vocal: the crowd sang over the backing track. From there engineers turned the mixing desk into an instrument: King Tubby (Osbourne Ruddock) in his small studio in Waterhouse, Lee 'Scratch' Perry (Black Ark), Errol Thompson, Hopeton 'Scientist' Brown, Prince (King) Jammy, Philip Smart; Augustus Pablo brought the melodica into dub ("King Tubbys Meets Rockers Uptown", 1976). Key albums: The Undertaker (Derrick Harriott & the Crystallites, 1970, one of the first fully instrumental albums), Java Java Java (1973), Blackboard Jungle Dub (Lee Perry with King Tubby, 1973), Pick a Dub (Keith Hudson, 1974, considered the first thematic dub album), King Tubby's At the Grass Roots of Dub (1974).

In the '70s the United Kingdom became a second center: Jah Shaka, Mad Professor (Ariwa), Mikey Dread, Dennis Bovell, Adrian Sherwood (On-U Sound), the steppers style (hammering quarter-note kick), influences on post-punk (The Clash, The Police, PiL, The Slits) and the success of UB40's Present Arms in Dub (the first dub album in the UK top 40). Dub is the root of much electronic music: jungle and drum and bass, dubstep (for the bass and the use of effects), trip hop, ambient, house and dub techno (Basic Channel, Rhythm & Sound), 'dubtronica'.

Techniques: removing or reducing the vocal, bringing drums and bass (the 'riddim') to the front, bringing fragments of vocals and instruments in and out, applying tape delay (Roland Space Echo RE-201, tape echo), physically hitting spring reverbs, high-pass and low-pass filters, faders and mutes as musical gestures, feedback up to self-oscillation.

Scales and keys

Dorian

• Formula: 1 2 b3 4 5 6 b7 — W H W W W H W (semitones 2 1 2 2 2 1 2)
• Example on A: A B C D E F# G
• Characteristic note: the major 6th over a minor foundation: an 'open' minor, less sad, which gives a major IV
• Diatonic triads: Am (i) – Bm (ii) – C (III) – D (IV) – Em (v) – F#dim (vi°) – G (VII)
• Seventh chords: Am7 (i7) – Bm7 (ii7) – Cmaj7 (IIImaj7) – D7 (IV7) – Em7 (v7) – F#m7b5 (viø7) – Gmaj7 (VIImaj7)
• Use in the genre: as in the roots reggae it derives from: an i–IV vamp with the bass using the major 6th; the few melodic phrases (melodica, horns) are Dorian.
• Real-world example: Augustus Pablo — King Tubbys Meets Rockers Uptown (1976), a modal minor vamp with melodica (check the key).
• Common mistakes: adding harmony: dub subtracts.

Natural minor (Aeolian)

• Formula: 1 2 b3 4 5 b6 b7 — W H W W H W W (semitones 2 1 2 2 1 2 2)
• Example on E: E F# G A B C D
• Characteristic note: the b6: melancholy; with the b7 (no leading tone) the minor stays 'circular'
• Diatonic triads: Em (i) – F#dim (ii°) – G (III) – Am (iv) – Bm (v) – C (VI) – D (VII)
• Seventh chords: Em7 (i7) – F#m7b5 (iiø7) – Gmaj7 (IIImaj7) – Am7 (iv7) – Bm7 (v7) – Cmaj7 (VImaj7) – D7 (VII7)
• Use in the genre: dark, meditative dub: i–VII, i–iv; pads and organ chords with long echoes.
• Real-world example: many King Tubby and Scientist dubs over minor riddims.
• Common mistakes: 'modern' pads that are too full and cover the space of the echo.

Minor pentatonic

• Formula: 1 b3 4 5 b7 — 1½W W W 1½W W (semitones 3 2 2 3 2)
• Example on A: A C D E G
• Characteristic note: no half steps: b3 and b7 without the 2 and b6, an open, 'can't go wrong' sound, ideal for riffs and hooks
• Use in the genre: basslines, melodica and horn fragments: 1 b3 4 5 b7 with long rests.
• Real-world example: the basslines of Robbie Shakespeare and Aston Barrett in the dub versions.
• Common mistakes: a bass that is too full: space is part of the line.

Phrygian

• Formula: 1 b2 b3 4 5 b6 b7 — H W W W H W W (semitones 1 2 2 2 1 2 2)
• Example on D: D Eb F G A Bb C
• Characteristic note: the b2: a half step above the tonic, a dark, Hispanic, menacing color
• Diatonic triads: Dm (i) – Eb (II) – F (III) – Gm (iv) – Adim (v°) – Bb (VI) – Cm (vii)
• Seventh chords: Dm7 (i7) – Ebmaj7 (IImaj7) – F7 (III7) – Gm7 (iv7) – Am7b5 (vø7) – Bbmaj7 (VImaj7) – Cm7 (vii7)
• Use in the genre: in electronic dub and darker steppers: basses oscillating by a half step, a menacing atmosphere.
• Real-world example: UK dub and dub techno often use pedals with a b2.
• Common mistakes: bright melodies over a Phrygian bass.

How to choose among the genre's scales

• Roots dub → Dorian or Aeolian, like the source riddim.
• Bass and melodica → minor pentatonic.
• UK dub, steppers, electronic dub → Aeolian or Phrygian with pedals.
• In dub, space matters: very few notes, lots of repetition with echo.

Harmony

Harmonic function

Dub starts from a reggae riddim (1–2 chords or a 4-chord loop) and takes it apart: the harmony is often only hinted at by short guitar, organ or piano stabs that come in and out, repeated by the echo. The bass defines the key.

Elements

• Bass pedal; harmony by 'appearances'.
• Echo of the skanks overlapping to create resultant harmonies.
• Drone and pads in electronic dub.

Voicing

Short chords in the middle register; their decay (echo, reverb) becomes part of the harmony.

Typical progressions

Rhythm and groove

Feel

The same as the reggae it derives from: one drop (kick and rim on 3) or rockers (quarter-note kick), with swing on the sixteenth notes (25–35%); in British steppers the kick hammers the quarter notes. The tempo is slow (65–85), and the tempo-synced echo (1/4, dotted 1/8) creates additional rhythms.

Rhythm as 'mix'

In dub the rhythm changes by muting instruments: drums alone, then the bass, then a rim hit with echo; the arrangement is made at the mixing desk.

Delay as a rhythmic instrument

• 1/8-dotted echo on the rim → 3-against-4 polyrhythm.
• 1/4 echo with high feedback → buildup and 'wave'.

Drums

Kick

• One drop (on 3) or rockers (quarter notes) or steppers (hammering quarter notes with rim on 3); deep and soft, often with reverb.

Rim / snare

• Rim on 3 (or 2 and 4), sent to the echo at chosen moments; snare with long spring reverb for dramatic 'hits'.

Hi-hat

• Eighth/sixteenth notes with swing, opening on the offbeat (step 7 or 15); sometimes filtered or sent to the echo.

Percussion

• Nyabinghi, shaker, bells; 'dub siren' (synthetic siren) as percussion.

The mixing gesture

• Mute and unmute of kick, snare, hi-hat to create sections.
• Echo throws on a single rim or cymbal hit.
• Spring 'crash' (hitting the spring reverb).
• HP filter on the whole drum kit for a 'drop', then opening.

Interaction

Bass and drums are the riddim; everything else is a 'guest'. The bass is sometimes pulled out for 4–8 bars and its return is the highlight.

Typical mistakes

• Continuous effects without breathing room: dub alternates dry and wet.
• Delay not in time.
• Drums that are too bright and compressed.

Bass

• Sound: dark, deep electric bass, highs cut, often louder than everything else; E1–E2 range; sine sub in electronic dub.
• Role: the protagonist; lines of 1–2 bars with rests; dramatic entrances and exits.
• Notes: minor pentatonic and Dorian/Aeolian, octaves.
• Mix: mono, compressed, sometimes with a slight automated LP filter.

Harmonic instruments

• Guitar skank and organ in brief appearances with echo.
• Piano and clavinet (Black Ark).
• Melodica (Augustus Pablo).
• Horns (fragments with long echo).
• Synths and drones in electronic dub; dub siren.

Melody and vocals

Vocals

• Fragments of the original vocal (a word, a phrase) with long echo; deejay toasting (U-Roy, Big Youth) over the versions; in modern dub, 'dubbed' vocals and samples.

Instrumental melodies

Melodica, trumpet, sax, guitar: short phrases picked up by the echo.

Effects

Tape echo (Space Echo) 1/4 or dotted 1/8 with 40–70% feedback, spring reverb, filters, phaser (Black Ark: Mu-Tron Bi-Phase).

Instruments

• Drums, nyabinghi, percussion, dub siren
• Electric bass, sub (electronic dub)
• Skank guitar, organ, piano, clavinet, melodica, horns
• Mixing desk, tape echo (Roland Space Echo), spring reverb, filters, phaser
• Vocal fragments, deejay

Drum patterns

Synths and sounds

• ARP 2600 V — Dub siren and effects: LFO on the pitch (square or triangle wave), sample & hold, external delay with high feedback.
• Mini V — Sub and bass: Sine/triangle with low LP for electronic dub and steppers.
• B-3 V — Organ for dub stabs: Short stabs to send to the echo.
• Clavinet V — Black Ark clavinet: Percussive stabs with phaser.
• Prophet-5 V — Pads and drones: Dark, slow pads for dub techno.
• Modular V — Textures and drones: Drones and noises for experimental dub.

Song structure

Typical form (≈ 3:00–6:00)

Arrangement

Dub is a live mix: the engineer plays faders, mutes and effects; the form emerges from subtraction.

Mixing and mastering

Sonic goal

Enormous, deep bass, dry and defined drums, and enormous space created by echoes and reverbs that come in and out. Silence and space are part of the sound. References: King Tubby — At the Grass Roots of Dub (1974), Augustus Pablo — King Tubbys Meets Rockers Uptown (1976), Lee Perry — Blackboard Jungle Dub (1973), Scientist, Mad Professor, Adrian Sherwood.

Kick

• HP 30 Hz, +2/+3 dB at 50–70 Hz, −3 dB at 300 Hz; light compression. Mono. Reverb only as an effect.

Rim / snare

• HP 300 Hz, +2 dB at 1–2 kHz; automated sends to the echo (dotted 1/8, feedback 50%) and the spring.

Hi-hat

• HP 400 Hz, LP 10 kHz; automated HP filter in the drops.

Bass

• HP 25 Hz, emphasis at 45–80 Hz, LP 1–2 kHz; opto compression 4:1 (5–6 dB); mono; 3–6 dB louder than the kick.

Skank, organ, melodica, horns

• HP 300 Hz, sent to the echo and spring; volumes that 'pop in'.

Vocal/fragments

• HP 150 Hz, −3 dB at 300 Hz, +2 dB at 3 kHz; echo with high feedback and a band-pass filter (300 Hz–3 kHz).

Effects (the heart of dub)

• Delay: Space Echo/EchoBoy/Fruity Delay 3 at 1/4 or dotted 1/8, feedback 40–70%, HP 300 Hz / LP 3–4 kHz on the return, saturation in the loop; feedback automation up to self-oscillation.
• Spring reverb: decay 2–3 s, filtered return (HP 200 Hz).
• Filters: automated HP/LP on the master or on groups (sweeps of 2–4 bars).
• Phaser (Mu-Tron Bi-Phase style) on hi-hat and skank.

Buses and groups

Dry rhythm bus (drums + bass); effects on separate, automated returns.

Sidechain

None; possibly ducking the echo from the source to avoid muddiness.

Master

• Chain: light EQ → compression 2:1 (1–2 dB) → limiter −1 dBTP.
• Target: −12/−9 LUFS integrated, true peak ≤ −1 dBTP; PLR 9–13 dB.

Common mistakes

• Echo that muddies the bass (don't leave the returns unfiltered below 300 Hz).
• Effects without contrast against dry sections.
• Bass that is too bright.

Reference tracks for the mix

• King Tubby — At the Grass Roots of Dub (1974)
• Lee Perry & King Tubby — Blackboard Jungle Dub (1973)
• Augustus Pablo — King Tubbys Meets Rockers Uptown (1976)
• Scientist — Scientist Rids the World of the Evil Curse of the Vampires (1981)
• Mad Professor — Ariwa repertoire

Reference listening

• The Paragons — On the Beach (dub plate di Ruddy Redwood, 1968)
• Lee Perry & King Tubby — Blackboard Jungle Dub (1973)
• Keith Hudson — Pick a Dub (1974)
• King Tubby — At the Grass Roots of Dub (1974)
• Augustus Pablo — King Tubbys Meets Rockers Uptown (1976)
• Scientist — Scientist Rids the World of the Evil Curse of the Vampires (1981)
• UB40 — Present Arms in Dub (1981)