Misty Dubs
True Tiger Recordings UK
Misty Dubs has quickly become one of the stand out producers of last year. With the “rebirth” of 4/4, a whole new batch of talented producers has emerged from the ashes of 2-Step to rebuild the garage scene and Misty Dubs is without a doubt amongst the cream of the crop. Having two solid EPs (with the third imminent) plus remixes for the likes of One Dark Martian and J Sweet under his belt, he is looking to make his mark in the music business in more ways than one. Be warned: Misty Dubs is no one-trick pony. He’s a tiger.
SoulChampion’s DeepSix goes deep into the jungle to hunt down Misty Dubs and get a word or two with the elusive producer.
D6 - In Exactly 5 words, describe who Misty Dubs is.
MD - More than just UK Garage
D6 - Tell us about your history in Garage and how you came to be where you are today. What originally got you into the scene and what got you into production?
MD - I originally started in UK Garage as an MC, back in ’98-99. I worked my way up through those ranks, along the way playing at venues such as Ministry of Sound, Turnmills, Gass Club and Emporium, as well as performing in Ayia Napa, Tenerife, Faliraki and even flying to Germany for a gig. MCing for me was about having a good time and enjoying the music for what it was. From the very beginning I was also trying to create music, just constantly learning for myself how to manipulate software and music, how to create the sound. That drove me to love the music so much.
D6 - Has your history as an MC been more a boon or a bane to your current goals of producing?
MD - I’d never say it’s a bane to my career, since the two are virtually exclusive from each other. It’s just another string to my bow. Sometimes I’ll produce a track and add a few vocal snippets from myself, or even do a verse. I think it also helps me to understand the music from another point of view when I’m delving into other genres such as grime and hip hop.
D6 - What kind of sound are you going for now and is grime and hip-hop where Misty Dubs is taking us in the future?
MD - At the moment UK Garage is in a transitional state; people are thinking, “What’s next?”. Things are changing, we can see that with the new wave of 2-Step and 4/4 producers such as Duncan Powell, ODM, Artifact and Delinquents. My goal now is to move the music into a different area, just to further increase the production levels but also look to incorporate some broken beat elements, particularly the beat experimentation, as well as some funky house elements. At the moment, garage seems to be quite rigidly locked into the “4/4 mentality”, but that’s starting to break now with the introduction of more 2-Step. I’m also very interested in grime, which may surprise some people, particularly the garage purists. As a sound, it’s the freshest thing to come from British shores since the emergence of UK Garage itself though a lot of people seem to be put off by the street image that goes with it. Personally, I’m producing a lot of grime at the moment. I think its great to see producers such as Ruff Squad get so much airplay because I believe that is the right direction for grime to go.
D6 - I hear you've got some dark bits coming out in the future...
MD - I’ll be getting involved in grime a lot more this year. There’s talk of a True Tiger mix tape that we will be working on during the summer and that will be predominantly our brand of grime – we want to help step up production levels in that genre. It has already started happening with people like Terrah Danjah, Skepta and others. We will also be featuring on other people’s mix tapes over the next 12 months; the whole mix tape culture looks exciting as we can create hype for artists and give them an opportunity to air themselves in the way they want, whilst people can buy it on CDs rather than limit it to DJs on vinyl.
D6 - Grime vs. "Quality" UKG. Can't we just all get along? Should the scene split?
MD- The two scenes right now are virtually polarised in both direction and ambition, but soundwise have never been closer. A lot of grime vocals now sound like old 2-step tracks, and if they were made 5 years ago would’ve been considered so. I think it’s important for people to approach the issue with an open mind and enjoy tracks for what they are. Personally I don’t see why people can’t get along. I’m looking forward to remixing some grime vocals on a 4/4 tip this year because the scenes are still quite close at the top level.
D6 - With the impending resurgence of 2-step, will you write some of that?
MD - I’ve written some 2-Step already, with one track called “Lonely” coming out on my forthcoming “Third Chapter” EP on True Tiger. It features Carly Bond, and I see it as a return to the style of 2-Step of ’98. There is also the other side of 2-Step that I am very interested in, which is the broken beat style. I’ve already released one track in that vein, the remix of One Dark Martian’s “Always Be There” on the flip of the vinyl, which I know surprised some people. I’ve also got another remix forthcoming of MJ Cole’s “Watertight”, on the same tip. The beauty of 2-Step is it gives a lot more license with the drum patterns, something which I like to spend a long time carefully constructing.
D6 - What's your affiliation with True Tiger and how does Misty Dubs fit into the mix? What is your role within the TT Family?
MD - True Tiger is the label I’m signed to, which is run by Stanza from Scandalous Unlimited. We all play a part in the behind-the-scenes leg work, everything from media to promotion to design and back again. To call it a family is very appropriate; whereas some labels just sign acts and communicate over the phone, we are always together whenever possible, not even on a musical tip but just hanging out. It helps to inspire you when you’re all working for the same cause and your constantly surrounded by the talent we have working with us. Therefore, I’m just one of the family, like everyone else involved.
D6 - Your skills behind the desk are undeniable. Tell us a little bit of the "secret recipe" that makes up the Misty Dubs. Just a wee sneak peak...
MD - I don’t like to give my specific equipment details away, mainly because I think a bit of mystery is always essential! If I spend 4 hours creating a bass sound I don’t want that replicated by 5 other people – it’s all about remaining unique. But one thing I will say is that the Rhodes electric piano has always remained central to my production; I think its one of the most soulful, descriptive instruments out there, with so much possibility across all genres. It may not be used in every production I do, but it’s always there if I want to inspire myself or create a riff.
D6 - How does jazz fit into the Misty Dub musical scheme?
MD - Jazz has always been something that’s appealed to me greatly. I used to play the clarinet for about 10 years and my music teacher would always encourage me to play jazz pieces. Stuff like “Baker Street” and “A Night in Tunisia”, people like Miles Davis and Charlie Parker, inspired me greatly. You will generally hear a jazzy little solo somewhere in my tracks, I’d rather that there than an empty 8 bars !
D6 - What is your key to handling vocals for cut ups?
MD - As far as I’m concerned there are no hard and fast rules. Try to keep it in tune, and try to deliver a message if your going for a full vocal cut up. You can create a new riff or a catchy hook if you stumble across the right combination; the one track of mine that I feel best represents that is Carly Bond - Purgatory from the first EP.
D6 - Software or Hardware: which gets the Misty Dubs stamp of approval?
MD - I think software’s the way forward really – the days of racks upon racks and synths upon synths are coming to an end. You can see that reflected in the amount of virtual instruments and effects that are being released in comparison to hardware. This isn’t to say that hardware is any way less valid; most producers who are based in hardware find that you cannot replicate the warm analogue sound through a computer. I use software for ease and space issues, though I’d love to pick up some really old hardware and chuck some bizarre noises into some new tracks!
D6 - How do you know when a song is done?
MD - I work very quickly and generally in one go, it keeps the creativeness flowing and I like being immersed in the track, you understand it so much better. The real litmus test is the next day, when you turn your computer on and listen to it again. Of course there are times when small edits are needed and the like, but you can generally tell if you have a good track on your hands or something that will break the mould. It takes a long time to learn though; you have to really understand the music to be able to make a great track.
D6 - Electronic media vs. vinyl - what do you prefer and why?
MD - I am, and always will be, a vinyl man. For me possession of a track means so much more than downloading it from the Internet. Although I recognise that electronic media is a vital medium that has emerged in the last few years, I prefer to buy my music on vinyl and enjoy the whole experience of it – you have sleeves that are specially created, you take more time to sit down and actually listen to a track on vinyl rather than on your PC or iPod and so forth. You can also decide to fling something in the mix randomly if you’re DJing, whereas with mp3s it’s not that straightforward or satisfying. From a DJ and producer’s point of view, I will always prefer vinyl.
D6 - How can we North Americans push the sound further? What's your thought on breaking the sound on foreign soil?
MD – It’s always difficult to move into new countries and break a sound, particularly to a massive continent like North America where there are already so many genres of music competing for people’s attention. I think the most important thing is to make it visible and to make it heard. This is something that has been inspired by a different culture and different ideas, and whilst it may not interest some people, it will fascinate others. From what I hear there is already a scene building up over in the States for both grime and garage and I’ve seen producers emerge such as Jason Mundo from across the pond. He’s receiving support from DJ Charma. It’s all very positive; if you enjoy the music chances are someone else will and it will grow.
D6 – So when are you coming to North America to promote your music?
MD - I’d love to come over and show people what I’m about; what we always try to do at True Tiger is promote an enjoyable atmosphere whatever we’re playing. I think if you listen to music in that context, you will always enjoy it more, whatever genre it is.
D6 - Any production tips for the Yanks and Canucks?
MD - I’d say use what you have as your influences and try and incorporate that within a UK Garage context. The wealth of talent in America is enormous and if we can see some of that reflected in UK Garage then we will be better off for it.
D6 – Thank for spending time to talk with SoulChampion. Send some shouts out to the North Americans and the boys back home.
MD - Shouts to everyone reading this and working hard to promote the music they love, whether DJing, promoting or just buying the damn music. Also big shouts to the full True Tiger family: Stanza, Gowers, Olli Be, Shyam, ODM, Carly Bond, Purple, Kew, Gomer and all the other big cats. Also shouts to Charma, D&G, Domino, Richie Vee, Cameo, Matt Jam, Duncan Powell, Delinquents and everyone supporting the cause.
Be sure to check out WWW.TRUETIGER.CO.UK for more information on Misty Dubs and the rest of the True Tiger family and be sure to pick up your copies of the next True Tiger releases in June 2005. Copies will fly!
June releases:
- Misty Dubs – “Third Chapter EP” - Out Tonight (feat. Shyam), Lonely (feat. Carly Bond), It’s All Good & Misty Dubs vs. Duncan Powell – Making Love.
- Scandalous Unlimited feat. Carly Bond and Purple – “My Life” – limited promo run feat instrumental.
- Scandalous Unlimited – Watford Weather remixes – featuring the Duncan Powell remix
- One Dark Martian feat Mary Turner – “It Doesn’t Have To Be” – featured on EZ’s latest “Pure Garage” compilation and featuring vocal, dub and electro mixes.
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