A big dub gathering at Scoops label

A big dub gathering at Scoops label

These releases from Scoops label don’t need any further recommendations or words. Three great 10”, three schools of dub, three big artists mixing each other.

Russ D, Steve Vibronics and Dougie Conscious. Grab these records. Period.








Posted by yarecki in Recenzje
Two new 12” with Disciples (Khaliphonic label)

Two new 12” with Disciples (Khaliphonic label)

khaliphonic02_disciples_backZamZam Sounds’ long-format sister-label Khaliphonic presents their second release – two 12” with four tunes by Disciples. And these ones are somewhat different than last Russ D productions. Produced in 1999, they are deep, hypnotic, more trance-like, truly dub soundscapes – charming with space and mysterious echoes. As Russ said: “The sound was somewhat influenced by the Rhythm & Sound / Tikiman stuff. At the time I was checking them a little… that minimal sound.

I hope that Russ D have more such tunes – they are simply addictive…



Posted by yarecki in Recenzje
Two great reissues of dub vibes from 90s – Disicples and Aba Shanti-I.

Two great reissues of dub vibes from 90s – Disicples and Aba Shanti-I.

Two great reissues have been released recently, both of them are from my favorite period in dub music – 90s. First 12” was prepared by Jah Roots Hi Fi and they picked Disciples classics – “Positive vibration” and “Humble Lion” with Mark Iration. What to say, serious dub vibes with dense and heavy atmosphere.

Second one is one of the first Aba Shanti-I releases – “Positive vibration” representing very characteristic roots style of Earth Rocker, sound of Jah lighting and thunder, literally!


Don’t miss these two!

Posted by yarecki in News, Recenzje
Russ D – Backyard Studio

Russ D – Backyard Studio

Name: Backyard Studio


BYstudioruss“The original Disciples studio was started in my bedroom in `86, but a little later in the 80`s i built a small purpose made studio in the back garden, hence the name Backyard Studio, its a concrete block building measuring just about 2m x 3m floor space and 2m high, i added a small L shaped vocal area some time later. In the early days i recorded on 1/4” reel to reel 8 track tape, going into a Seck 12/8/2 mixer, using drum machine, live bass / guitar / percussion and keyboards.

There were various small upgrades over the years until in the early 90`s i started using a hardware sequencer, a Roland MC50, and got into the whole midi sequencing thing, i used sound modules like a Roland U220, an Akai S950 sampler, Alesis HR16 drum machine and various other bits, i used to stripe a timecode from the sequencer onto the 1/4″ tape and use the tape for voicing and some live played instruments. In `95 i bought my first computer system, it was a Soundscape unit and could record 8 tracks but only had 4 outputs, this was sync`d to my sequencer, by this time i was working on a Soundcraft Studio 24/8/2 mixer. In the later part of the 90`s i went fully over to recording on computer, i use Cubase as my DAW, at around the same time i had changed my studio desk to an Allen & Heath GS3000, i also started to get into plugin use, i had read some articles in studio magazine SOS (Sound On Sound) about UAD dsp cards and decided to go that route, with thier emulations of vintage gear it took my interest.

BYstudiovocalboothIn early 2000`s i had the chance to upgrade my desk again, this time it was an old pro desk, a Soundcraft Sapphyre, which was previously the desk Fashion Studio used. During the 00`s i started to get a lot of outside work and it meant i had a need for a setup that allowed total recall, at the time i used to set all channels on the desk to 0, and did most of my processing ITB, and really only used the desk for its auxillery sends for mixing dubs, i used to have setup sheets to mark down anything specific for a track so i could recall at later dates. Finally in the latter part of the 00`s i decided it was unnecessary for me to have a big desk, i experimented for a while with working totally ITB and using a Behringer BCF2000 midi controller to mix, i had good reverb fx from UAD, the Bionic Dub delay vst which is controlled by a Novation Nocturn controller, and piped in some of my outboard using the soundcard i/o i used when connecting tracks to the big mixer, after a few months i felt it good enough to sell off the mixer and go totally with working the ITB box, this has facilitated the total recall neccesary for my work.

My setup now comprises Cubase 7, which i keep up to date, a UAD octo card with various plugins of which in particular i use both thier EMT plate reverbs, API Vision Channel, Pultec Eq, LA2A compressor, Roland Space Echo (for its spring reverb), EP34 Tape Echo and Studer A800 tape emulator, im still using the Bionic Dub delay tthough i contacted the maker and we currently have a revised version with added features, it will soon come on the market ! together with the virtual side i also use a number of hardware unit, for recording i have an API Lunchbox fitted with an API 550B eq, a Lindell PEX500 eq, an Elysia Xpressor (which goes on my master buss) and a Great River MPV500 mic/line pre-amp, a also have a UA 2-610 valve pre-amp and an SSL Mynx unit fitter with SSL EQ and Compressor. I also have some outboard effects like Lexicon MPX1, TC M3000, Fostex Spring Reverb and some custom special units like Tooney Roots FT1 Filter, BeniDverb and BeniDubecho.

russ d studioIn production i use a mixture of a number of the original sound modules i had from the old days, including Roland JV1080, Emu Vintage Keys Plus, Novation Bass Station, Roland D110 and U220, Micro Korg, Nord Rack 2X, Yamaha DX100, along with this there are VST instuments like NI Battery, Electric Keys and Hammond B4, and Trilogy Bass, i also use Cubase own Groove Agent drum module with samples that i`ve collected over the years. I play various live instruments like Guitar and Bass (occasionally !) and various percussion, i usually get live horns and lead guitar work brought in.

I still use a mixer for routing and summing, its an SSL X-desk, i mixdown to an Alesis Masterlink, and monitor through Adam P11 and Yamaha NS10`s. I run the mixdown back into Cubase via the digital connections between the Masterlink and my soundcard, i then master all my own productions using a number of UAD plugins.


UPDATE ! (24.01.2014)
“Since this piece was first written some further changes have been made at the Backyard Studio with the addition of an Allen & Heath WZ20S analogue mixer. This has replaced the use of the Behringer BCF2000 controller as the main mixer. This came about a little by accident as i was thinking one night about what would be my ideal choice of mixer, something that was based around the current setup with the BCF2000. I remembered seeing old stereo desk channels available on ebay and wondered about the possibility of getting a number of those channels and piecing a desk together, it was a bit of a dream, but when i searched ebay for stereo channels this A&H desk came up and it seemed to suit just what i wanted, but already made.

As i explained with the BCF i was mixing in to subgroups in cubase and applying dub effects to those groups. The A&H has 8 stereo channels and these are now acting as my subgroups, it has 6 aux sends for fx per channel and i currently use a combination of outboard fx and some reverb plugins routed to the desk, so i have achieved a very similar setup, sound and mix ability as with the BCF but with a little more hands on control. The desk is nicely compact and ruggedly built, but i do have some ideas of a little expansion, so will see what the near future holds!”


Studio homepage: https://www.facebook.com/russ.disciple

Location: a London suburb

E-mail: russdisciple@yahoo.co.uk


Posted by yarecki in Dub studio
Sista Sherin  – “Guiding Star”

Sista Sherin – “Guiding Star”


In the dub scene women are in minority – what a pity. Sista Sherin shows us on her album how the female voice pulls together with roots and dub music. You can ask who Sista Sherin is – she acts on German scene for ten years and records her tunes for Debter and Jah Free. She has often shown up with selectors – Shalamanda sound system (Austria), Jah Vibes (Germany), Jah Roots Hi-Fi (Switzerland) and many more. In her lyrics she spreads spiritual Rastafari message and the idea of spiritual revive carried by reggae music. Dub Soljah, known from Cultural Warriors Sound System (1998-2012), is responsible for the musical side of the album. He comes from Genewa, where he creates rhythms and mad remixes in UPfront Studio. The album itself, as the artist say, is a fruit of a mutual intensive amusement and work, as an effect of which they created 9 songs with Sista’s vocals and 9 dub versions. In the future they want to promote their work as Art’Ital Duet (Dub Soljah & Sista Sherin), and they want other vocalists to join them in collaborative gigs. During the production process Dub Soljah has been supported by Russ Disciples, Upfront Family, Kris Kemist, BackIIRoots and Rock Radio Hermes. My favourite tracks from the album are “Guiding Star” with a very good riddim called Disciples and “Sound System Rise”. The whole album is a shot of positive energy in roots and dub sauce and additionaly, or maybe above all, very pleasant, soft voice of Sista Sherin – without doubt Christine Miller has a great follower.

Posted by Bedi in News, Recenzje
The Disciples – “Resonations” (LP)

The Disciples – “Resonations” (LP)

Sorry, this entry is only available in Polish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

hqgWydany w 1995 roku przez Cloak And Dagger Records album w całości wyprodukowany i zmiksowany przez Russa D. Na płycie wydanej oryginalnie zarówno na CD jak i 2LP znajduje się 13 utworów utrzymanych w stricte soundsystemowym, ciężkim, mistycznym klimacie Disciples.  Co ciekawe utwory zawarte na płycie to produkcje z lat 92-95, wyprodukowane specjalnie na potrzeby Boom Shaka Lacka Soundsystem.

Samo to wskazuje, że album zawiera praktycznie same killer tunes charakterystyczne dla produkcji Disciples z tamtego okresu. Czysty soundsystemowy dubplate style od samego początku, bez rozgrzewki. „Eastern Fire” na pierwszy ogień i wiemy z czym będziemy mieli do czynienia. Ciężki klimat, przytłaczający bass, finezyjne linie melodyczne, charakterystyczne partie syntezatorowe. Jednym słowem wszystko to co najlepsze u Disciples. Album zdaję się być idealnym przykładem doskonałych produkcji z kręgu elektronicznego dubu. Szczególnie dla kogoś tak rozkochanego w dubowych produkcjach z lat 90’ jak ja.

Muzyka od której z wrażenia zasycha w gardle. Klasyk.  

Posted by King_DuBear in Recenzje


Sorry, this entry is only available in Polish. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

RussDW połowie lat osiemdziesiątych, kiedy większość Soundsystemów zmieniała swój rastafariański repertuar na modny w tych czasach dancehall, jedynym przedstawicielem nurtu roots był Jah Shaka. To wokół niego zgromadziło się wielu fanów roots i świadomego grania, którzy tłumnie przychodzili na jego sesje przepełnione masą steppersowych dubplatów i głęboko medytacyjnych dubów.

Tłumy ludzi na sesjach Shaki były zróźnicowane, już nie tak jak kilka lat wcześniej kiedy to sesje były świętym miejscem dla czarnej społeczności Londynu, zaczęli pojawiać się równieź biali fani ciężkiego basu, zapierającego dech w piersiach głośnego grania, wyjących syren i śpiewu Jah Shaki.

Wśród nich byli też bracia z południowych przedmieść Londynu Russ i Lol Bell – Brown. W połowie lat osiemdziesiątych zaczęli razem produkować własne wersje popularnych starych rootsowych numerów a z czasem zupełnie nowe własne kawałki. Pierwszym, który zainteresował się Disciples był sam Jah Shaka i to właśnie on wypuścił ich premierowe produkcje podczas jednej ze swoich sesji. Od tamtego momentu sprawy potoczyły się bardzo szybko, Disciples wyprodukowali parę albumów, które wydał Shaka.

Wiele ich produkcji przeszło do klasyki UK Rootsowych dubplatów i grane są przez Soundsystemy na całym świecie. Po kilku latach jeden z braci poświęcił się życiu rodzinnemu i nie miał już czasu na siedzenie w studio. Russ D, który produkuje do dzisiaj założył w latach dziewięćdziesiątych swoją własną wytwórnię która wydaje produkcje Disciples do dzisiaj.

Artykuł użyczony dzięki uprzejmości http://www.rootsrevival.org

Posted by Jaszol in Article