Dub scientist Tony Dubshot reveals that black holes are the biggest woofers, contemplates the difference between sine wave and white noise, instructs in creation of DIY deepest bass possible and more in:
Mysteries of Dubb ~ How low can you go?
Author: Jah Billah
JAH BILLAH creates anachronical synchro-mystical DUB outta riddims built by various artists from all over the world. Linking up within independent network of riddim makers, producers and fellow dubbers into global organic sum of musical efforts. So far Jah Billah dubbed reggae music from Bosnia & Herzegovina, China, Croatia, Czech Republic, Denmark, Finland, France, Germany, Jamaica, Mexico, Netherlands, New Zealand, Poland, Romania, Russia, Spain, Switzerland, Sweden, Trinidad, UK, USA, Vietnam... and all around so awarded by the people the title of honor „AMBASSADOR OF DUB GALACTIC NATIONS“ .
CELESTIAL, PLANETARY AND ASTROLOGICAL CORRESPONDENCES – NOTES & TEMPOS
I. Celestial, Planetary and Astrological correspondences.
Planetary Notes:
C – Mars
D – Sol
E – Mercury
F# – Venus
G# – Moon
A – Saturn
A# – Jupiter
Astrological Notes:
C – Aries
C# – Taurus
D – Gemini
D# – Cancer
E – Leo
F – Virgo
F# – Libra
G – Scorpio
G# – Sagittarius
A – Capricorn
A# – Aquarius
B – Pisces
Planetary Tempos:
Saturn 69.3 BPM
Moon 98.6 BPM
Mercury 66.2 BPM
Venus 103.7 BPM
Sun 118.3 BPM
Mars 67.8 BPM
Jupiter 86.1 BPM
Nepturne 99.1 BPM
Pluto 65.7 BPM
Uranus 97.2 BPM
From Occult Music Correspondence Tables by Aleph9 Waveform Research Journal
JARON LANIER ON DIGITAL TECHNOLOGY
I’m quite concerned that in the future someone might not know what author they’re reading. You see that with music. You would think in the information age it would be the easiest thing to know what you’re listening to. That you could look up instantly the music upon hearing it so you know what you’re listening to, but in truth it’s hard to get to those services.
I was in a cafe this morning where I heard some stuff I was interested in, and nobody could figure out. It was Spotify or one of these … so they knew what stream they were getting, but they didn’t know what music it was. Then it changed to other music, and they didn’t know what that was. And I tried to use one of the services that determines what music you’re listening to, but it was a noisy place and that didn’t work. So what’s supposed to be an open information system serves to obscure the source of the musician. It serves as a closed information system. It actually loses the information.
From Jaron Lanier: The Internet destroyed the middle class
by Scott Timberg, 2012.
DR. DAS ON POLITICS OF DUB BASS
Describe the politics you feel are inherent in dub bass.
It relates to the general attitude which states that bassists are just there to do a job and hold down the rhythm, whereas vocalists and guitarists are the ones responsible for serious expression. To me, the bass has always been just as emotive as any other instrument. Dub music proves that’s so because it represents an inversion of clichéd perspectives about bass. With dub, the bass line is the hook of the song and the guitar is often there backing it up. The bass line also offers a low frequency melody that carries the key emotional content. The challenge in being a dub bassist though is you’ve got to do all of that using as few notes as possible. However, your brief is the same as it is for any other instrument—ensuring how you feel about the world is reflected back into your playing.
From Dr. Das – The politics of dub bass
by Anil Prasad 2007.
NOTE FREQUENCIES & VISIBLE LIGHT SPECTRUM CORRESPONDENCES
From Esoteric Harmonics – Tuning to the Occult Scale of Sound by Patrick Mulcahy 2010.
Z’EV ON VIBRATION
VIBRATION: THE IMPACTING OF ONE RHYTHM OFF ONE PLANE UPON THE
SUBSTANCE OF ANOTHER.
That is, the gas molecules [air] which the pressure zone vibrates, adopt its density and rhythm.
The atmosphere within the sound barrier is a meta-pressure zone composed of the infinite variety of these energies. Even more metaphorically: pressure zones are currents in the sea of sound within the shores of the sound barrier. Our sound barrier is formed by energies vibrating faster than 76o m.p.h.
How the qualities of energies of this velocity and vibration rate are heard entails a three-stage process. First, by a mechanical process in the middle ear, when the
exterior energy [pressure zone] vibrates, successively, the ear-drum, hammer, anvil, and stirrup transferring a re-proportioned energy to the inner ear. This begins a hydro-electrical process. The fluids of the cochlea vibrate, which in turn vibrate/fire the neurons along the basilar and tectorial membranes of the cochlea.
As neural impulses in the voltage of the central nervous system, the exterior energy has been transformed back into the realm of electricity [physical light].
The first place these neural impulses go is the memory, where they are distinguished, say, from the taste in your mouth right now, and from there to the cognitive center of awareness.
All sensory impulse first arrives at memory.
from
Rhythmajik – Practical Uses of Number, Rhythm and Sound
1992. by Z’EV
OUT OF MANY COME DUB AND OUT OF DUB COME ONE 