I feel like the point was more to provide an educational basis for the music as opposed to slagging off the way things went.
Isnāt that what half the people interviewed did though? Lol
When hip hop started in the Bronx in the 1970ās, it was Bronx music. Born, bred, built in the Bronx. Starting from one random friday night party in a basketball court, between two project buildings. They even broke into the street lights, to get electricity.
Thereās much talk about South London bass music. If you look at the first 6-8 months of posts on DSF circa 2005 you can see very quickly that Bristol, Essex, Brighton and even up north in Manchester, were not too comfortable that South London was becoming the epicenter of the sound.
Going back to hip hop, when it was clear after a few years that the sound was slowly taking over NYC, you had a borough to borough competition over who reigned over the city. Bronx was claiming rights to it, but Brooklyn and Queens werent letting that go unchallenged.
The point Iām making is not that hip hop grew like dubstep, as thatās impossible. Different cultures, different contexts; but a similarity of both movements, just like jungle for example is the sound builds and morphs, but it becomes a movement usually in one city, and maybe one postal code. The blueprint is cut.
I like reading these articles, and this one is full of the dramatis personae of those days. I just think that the vibe bubbling and informing the sound from other cities in England is blatantly missing in it. It started with RinseFM/Fwd but became a movement with DMZ.
This is the sound of 2005, Manchester below. Big up Mrk1. Anyway, my two euros on the matter. Peace.
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No mention of Distance either. I wonder if he declined to commentā¦
lol what a fucking penis
what would his chapter have been called āhow everything went to shitā
ācaspa: arguably responsible for said torrent of shitā
Yeah just Caspa throwing his toys out the pram because he wasnāt painted in the best light. I guess we wonāt be seeing him at DMZ 10 
hip hop is not american or black
and dubstep is not british
which is very important to remind people of, if wereā going to respect it as a thing
1 BigUp
Loved the bit with Pinch describing Bahl Fwd. Still one of my favourites.
yeah man, my mate has it and i usually turn down the bass eq on the mixer with that 1 to be considerate to the neighbourhood, just ridiculous
was pinchās thing about no eq bass, pure weight there likeā¦legit
iāve not run eq on sub many times before and never come out with that weight hah
dunno, but what jay from transition said about rolling off some of the low end to make the bass weightier was interesting
"What I learned most from Jason is that certain frequencies just wonāt translate on vinyl ā and if you roll off, roll off and roll off the bottom end, it actually gets heavier. "
yeah! i read that and was like awww shiiiit, i wonder if the standard ableton eq and filter can do that subtly enough to get that effect without just tearing off all the sub, i never would have guessed that mala does that, you reckon thereās frequencies really low that donāt add anything but mud to mixes?
has anyone ever tried this
yeah, the human ear can only hear down to about 20Hz, so having frequencies present in a mixdown that are unaudible/too low will just take power/weight away from the low frequencies you can hear, so if you roll them frequencies off you get the weight back. Dunno how all that translates to vinyl tho in terms of the actual frequency to start rolling off at.
Most EQ will have a low/high cut function where you can select at what frequency you roll off, itās good working practice to roll off unnecessary low end for every element of a track - even high frequency sounds like hi-hats.
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cool thanks, yeah i already roll the low end off everything except the bass, makes the whole thing mix together so much better
the felt bit ā¦ āthe weightā
has a lot to do with that crossover point - like where the sub turns into a low mid
where the sub actually begins to be defined as having tone because a lot of it is about how we percieve it and weāre conditioned to pick up on clean notes or proper scaling by listening to music - so its best to play into that aswell and moreso than say going for ācleanā or a lot of seperation in a mix (ie tricks)
i dont know if it can be said straight up that a harmonically āproofedā mix is just percieved to be louder, but a (subby) bass is because Ā½ of it is āmudā at least!
One thing to remember though (in dance music) is the drums will usually have to cover a lot of the same area
as the sub (despite filtering and eq), which also masks a lot of what couldāve been easierly heard or percieved of, from the bass, which in turn means we tend to drive the sub or distort it back into the mix
a lot of that stuff is going on in exactly that area where you want to have the sub come out
(even with drums highpassed)
so, the only thing you can be certain will bring the bass out, is in the arrangement part - like not having drums play on top of fx a stab or similar and that is often critically overlooked tbh -eventhough it can seem obvious
Thereās no hip hop without America (TheBronx). Thereās no Dubstep without England (London,Bristol,Manchester). No point in catching feelings about locations. It all becomes a movement somewhere.
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Totally agreeā¦but by saying that there would be no dubstep or for example hip hop or dj culture without listeners from other countries
Iām the one who gets to say not without ā¦insertā¦ now that you wrote the first post
not catching feelings btw 
iām 99% sure that low end rolling off thing mentioned refers to rolling it off everywhere except on the sub, because you often have mud on things even high hats and such, so clear that up to give your sub space
ha! ^^^Gāday Seckle. Long time no hear.
agree with Pete about Toasty, MK1 & ProtocolX not getting their duesā¦strong contributors
Cluekid, D1, Cotti & Cyrus didnāt get a deserved look-in neither
let alone early non-Brits like Mouldy & Moving Ninja
but as for Caspa
man, I know his sets went to shit after 07
but before that, as Quiet Storm & all, generally I preferred his tunes to Skreamās
(so shoot me)
same with Ruskoā¦did some great tunes from 05 on.
I figure they mustāv done some bad acid together.
Pity.
(imo contemporarily, Sevenās music best reps the vibe & sound)
Wonder what manās been doing since, heās been quite inactive for a long time.