“Music is always a healer, It doesn’t matter if it is mine or someone else’s. I have a real emotional connection with music and think the first step of making great music is being a fan of others music” — Dub Gabriel

An Interview With Dub Gabriel

Pushing the boundaries of rock, dub, world and electronic music has been San Francisco-based Dub Gabriel’s mission since he began DJing in the ’90s underground of New York City. His musical explorations in Brooklyn in the mid 90’s drew him to the outer limits of the New York scene where he got his start as a DJ at the legendary Limelight. His genre-bending style and hard-hitting sets launched him as a trailblazing figure in the New York underground club scene. A Producer, DJ and multi-instrumentalist, Dub Gabriel has three full-length solo albums under his belt, with a fourth, the aptly titled “Raggabass Resistence” on its way in March. Additionally, he’s collaborated with an incredible spectrum of artists like Michael Stipe, U Roy, Yo! Majesty, Bachir Attar & The Master Musicians of Jajouka, members of Bauhaus, Googol Bordello, Meat Beat Manifesto and P.I.L.

The culmination of many years of musical exploration are manifest on “Raggabass Resistence”. Combining his driving signature beats with live strings, guitars and synths, and mixed ‘n dubbed through an arsenal of vintage analog gear – Dub Gabriel has created the bass-driven foundation for some of the most respected figures in reggae and electronic music to step up to the plate: U-Roy, Warrior Queen, The Spaceape (Kode9/Burial), Brother Culture (On-U/Mungo’s Hi Fi), Jahdan Blakkamoore (Major Lazer), Dr. Israel, MC Zulu, Juakali, PJ Higgins (Temple of Sound), David J (Bauhaus/Love & Rockets), Pedro Erazo (Gogol Bordelo), and Mark Pistel (Hercules & Love Affair) – they all blaze with a burning fire to create an album of epic proportions.

Writes Dub Gabriel of the new record: “With the new album I feel I have finally achieved the future-organic sound that I have been striving for my whole life. In an age where music has become disposable, I set out to create an album that will hopefully stand the test of time and still feel relevant for years to come – just like the classic albums I fell in love with as a youth… I wanted to honor what I fell in love with when I first discovered this music but to call this a traditional reggae album would be a far stretch – I am fully at the controls and I give it my own voice to push it into the future to create a sound that I like to call RAGGABASS!”

As a DJ, Dub Gabriel is much in demand on the international club circuit dropping sets alongside other genre defying DJ’s and artists that include, Kode 9, DJ Craze, Banga, Bomb Squad, Jazzanova, Scientist and Meat Beat Manifesto. He is a regular guest at Francois K’s legendary Deep Space night at Cielo and has even held down sets at Givenchy’s runway show during China Fashion Week in Beijing, Puma’s World Cup party in Berlin and the 50th Anniversary of the Peace Bell Ceremony at the United Nations.

MundoVibe caught up with Dub Gabriel just as he wrapped up his Kickstarter campaign for “Raggabass Resistence”.

MundoVibe: Firstly, congratulations on the completion of your kickstarter campaign for your new full-length recording which has been in the works for a few years and features collaborations with U-Roy, Spaceape, Warrior Queen, David J (Bauhaus/Love and Rockets), Brother Culture, Jahdan Blakkamoore, Dr. Israel, MC Zulu, Juakali and Mark Pistel. Clearly this is your most expansive and ambitious project to date, can you tell us about its genesis and development — what did you set out to do with this record?

Dub Gabriel: Thanks. And yes, I’ve been working on this album for over 3 years now, definitely the longest I’ve spent on a project. Part of the reason was that my constant touring schedule was not giving me enough time to focus on recording, so I quit playing live a year ago to focus on the album and told myself that I would not gig ‘til it was done. My goal was simple, write great songs and make them sound great too. I didn’t want to make dance tracks or abstract-electronic, but wanted to incorporate those elements and have the tracks be 100% song driven, with vocals and great hooks and, have the album flow from beginning to end.

A weird thing happened when dubstep made it’s way across the pond to the States, the dub Influence was entirely striped out of it and replaced with top-40 Lady Gaga type vocals with no experimentation at all. It’s actually the opposite of what dubstep was all about, totally formulaic and marketed to the masses.

MV: Are the results as you expected? What surprises and revelations arose with this record?

DG: Actually, the results were exactly what I expected because this album was about taking my time and doing things right. If I didn’t like a mix or a part, I would go back into the studio until it was. This is my fourth solo album and its completion not only marks 10 years since my first but, it also fell on my recent 40th birthday – over the years I have definitely grown as an artist and my constant desire to master my craft and represent it to the best of my ability has taught me discipline and patience. I can honestly say there weren’t too many surprises along the way and that the end result is that this album is my proudest work to date.

Contributors to Dub Gabriel’s “Raggabass Resistence”:

MV: This is your first recording in which you’ve utilized Kickstarter to help fund the project. How has the experience been for you — is this the future of indie music?

DG: Kickstarter and the many other crowdfunding platforms out there are the wave of the future for independent creators – not just for music, but also for art, film, dance, publishing, new inventions and so much more. I was an active pledger well before I started my own campaign, because the way I see it, engaging directly with people with creative ideas and supporting them in funding their projects encourages positive growth in our society. Direct funding enriches us as a whole and promotes sustainable independent businesses that fill our lives with culture. I have to admit that diving in for the first time with my own project was a bit daunting but I always had faith that my supporters would rally to support me in releasing music in the way that I wanted. The outcome is that this will be my first album to get the vinyl treatment, and more than anything, that I am now closer than ever to my fan base.

MV: Your sound seems to have taken some steps forward by using some vintage gear like Moog and ARP synths, vintage Space Echoes and Echoplexes. How did this change your production methods and the sound of the recording?

DG: Well, I come from a traditional studio background having spent many years playing bass in bands – I was always into production and my earliest studio endeavors were recorded to 2” tape, which definitely gave me a grounding in analog sound. But you are right, my use of analog synths has been steadily growing over the last 5 years – the studio I would use when I was living in NY had both a Prophet and a Moog Voyager which I grew to love, then when I moved to San Francisco, two things happened: I bought a Moog and started working with Mark Pistel out of his Room 5 Recordings studio. Mark is a veteran of the electronic music scene who now plays with Hercules & Love Affair and some of his previous projects include Consolidated, Disposable Heroes of Hiphoprisy and Meat Beat Manifesto (who he still plays with when they go out on the road). The two things Mark and I really bond over are analog synths and a love for dub – Mark has an amazing arsenal of synths so there were many times on this album that I would work on parts in my studio using a softsynth and then take it to Mark’s where we would just keep the MIDI to trigger any analog synth we wanted, with the holy grail that is the ARP 2600 being one of my favorites. And as far as tape delays go, we had plenty of choices as I myself own a Fulltone TTE and Mark owns an Echoplex and two Space Echoes – truly a dubbers paradise!

ON DUB

MV: Although dub has had a tremendous influence on music production and how we hear (and feel) music, its impact in the States is not entirely apparent. Ask the average Joe on the street what dub is and they’d shrug their shoulders. So, the incredible rise of dubstep here is interesting, it seems to have tapped into something. How do you see the place of dub today, both in the underground and mainstream?

DG: Dub is not a genre as much as it is a state of mind, and dub music as you and I know it will always be in the underground. As far as dub’s influence on the mainstream goes, it’s impact cannot be underestimated; when you have hip hop guys rapping on top of a DJ spinning records, that has it’s roots in dub; when you hear a remix of a popular song, that too is drawing on dub techniques; and when you hear hit songs by No Doubt, The Clash, Massive Attack, Damian Marley and M.I.A, many of those owe an allegiance to dub. But dub will never be Top 40 in its own right, it is rebel music, it’s a soundtrack for people who choose to live to the beat of a different drummer – dub’s revolutionary roots run deep and it will be guiding us for generations to come.

MV: How has the whole dubstep movement and culture influenced you? Do you see it as its own movement or just part of the evolution of dub and bass music?

DG: I was living in Berlin in 2005 when I first started to hear a lot of dubstep coming out of the UK. It was heavy in dub and experimental sounds so there was a lot I really liked about it. It reminded me of what we had going on in Brooklyn with the experimental dub and illbient scene so I felt a kinship with it. The great thing about the UK is that its urban roots are Caribbean, so their dance music has a dub foundation to draw on. When I was first started getting into electronic music in the early 90’s, it was jungle sampling reggae records combined with phat bass lines that really sparked my interest. At that time I had dreads down my back and was listening religiously to Upsetters records – so hearing a fusion of my favorite roots music with electronic elements really got me going. So anyway, I experienced UK dubstep as a natural part of that musical evolution.

But a weird thing happened when dubstep made it’s way across the pond to the States, the dub Influence was entirely striped out of it and replaced with top-40 Lady Gaga type vocals with no experimentation at all. It’s actually the opposite of what dubstep was all about, totally formulaic and marketed to the masses. Dubstep DJ’s here are now household names and the current large-scale electronic music scene in America is an abomination created by corporations. Local Dance music promoters have been shoved out by fake touring festivals organized by Live Nation coming to every medium market stadium parking lot in this country. It sort of rips the heart and soul out of the underground and once again turns into a product of the American mass-market machine.

[youtube http://www.youtube.com/watch?v=GUTz_q1ioXs]

ON COMING UP/INFLUENCES

MV: You came up in the underground music scene of New York City and Brooklyn. What was that experience like for you and what were some of the key artists, events and ideas that had an impact on you?

DG: Well, when I moved to Brooklyn in the ‘90’s I wasn’t making beats yet nor DJ’ing or anything like that – I was a bass player who was into studio production. The whole Knitting Factory scene really was exciting to me and Tonic had just opened its doors so I was regularly going to see people like John Zorn, Bill Laswell, Marc Ribot and all the Downtown scene. I was also going to places like The Cooler and seeing things like Thurston Moore playing with Rashied Ali, I saw a lot of amazing shows in my first few years in NY.

I was living in Williamsburg at the time and it was very different to how you know it today, back then you couldn’t even get a taxi to take you there. But the cool thing about it was the community; it was like a small town in the middle of a big city. It was there that I first started to link with the local dub and electronic scene, I started to make beats and to throw the Brooklyn Massive warehouse parties that ran for years. It was a fun time with Baraka Foundation and Wordsound Recordings crankin out tons of great music. Bill Laswell was also a big influence as he had his studio in nearby Greenpoint and was very supportive of the scene. Dr. Israel and I still work together and I also recently reconnected with Professor Shehab who just moved back to the US after many years of living in Iran, he and I have been working on a new Qaballah Steppers record, the first one since 2001.

MV: The Brooklyn reggae scene in places like Bed-Stuy, as I remember, was very underground and real. Did this scene have an influence on you — were you part of it?

DG: Bed-Stuy wasn’t really an epicenter as much as Crown Heights, Utica Ave and up in the Bronx. I was in and out of some of that scene. I linked up some with Jahlife who is a NY reggae scene legend though sadly uncredited for the most part, and I was tight with the guys at Jammyland who held down the scene for years. I don’t know them personally, but I would also have to give huge respect to Wackies.

MV: Were DJ/Producers such as Francois K and Bobby Konders influences?

DG: Francois is a legend in NY for sure and I have DJ’ed with him many times. I have been playing his Deep Space party at Cielo since the first year it started and he has always been gracious enough to keep an open invite for me to play anytime. Before getting to know him I went to a few of the original Body & Soul parties, and even though I was not a big house guy, I couldn’t resist the good vibes at those nights. Now with his Deep Space parties he effortlessly mixes house, techno, dub, dubstep and whatever he wants in such a smooth way that no one ever feels left out. I have learned a lot gigging with him. Bobby Konders I don’t know personally, he does a very mainstream reggae show on Hot 97 that was never really my scene, but much respect to his legacy.

MV: You got your start DJing at New York City’s Limelight Club in the 90’s, a time when club culture was at its peak in the city. How did you land a gig at Limelight, what were you spinning then and what was the overall experience like?

DG: I was incredibly broke back then, barely scraping by, so my friends and I started to go to art openings around Soho, Chelsea and the Meat Packing District because we knew they were always good for free wine and food – sometimes that was our only meal of the day. People at these openings would invite you to other openings or you would sign up on the list, so eventually we were hitting 2 or 3 of these a week. Mixed with some early dot com parties and a record industry party here and there, that is basically how we survived. Around that time I got a job working for an indie electronic label that had some success releasing Moby’s early albums and I also started to explore beat making. So at one of those art openings I met the girlfriend of Peter Gatien, the “King of New York Clubs” who owned the Limelight and several others at that time. She was going to start throwing art openings at the Limelight and asked me if I would be interested in DJ’ing. I was really just starting to DJ but in New York, you find yourself trying out lots of new jobs, anything for a buck to survive off of, so I was happy to do it. I must have done a dozen openings there, it was very cool playing in the Chapel room. Because it was an art party, I could get as experimental as I wanted, cutting up Tuvan throat singing with a guitar delay pedal hooked up to a turntable, and dropping dub, instrumental hip hop and other stuff behind it. Eventually they gave me the opportunity to play in the main room, and also the H.R. Giger room, which they commissioned Giger himself to create -that was basically hell in the middle of a church and sort of a good metaphor for what that club was all about.

MV: Was Limelight your launching pad then and what did it lead to from there? Were you always producing music as well as DJing?

DG: I was DJ’ing at the Limelight, working at a record label and going out almost every night of the week – my social circles were really building up, so I started throwing warehouse parties in Brooklyn. They became pretty legendary and were written up in the NY Times, Village Voice and Time Out NY. Then Interview Magazine did a feature on the 30 most influential people in NY with me in it, which obviously was a huge boost to my career. Anyway, it was around that time that I got into music production software from a hacker friend named Dirty Bomb, and I started using early Cubase, Logic (before it was owned by Apple) and Sonic Foundry Acid, which is where it all really began.

ON THE MUSIC

MV: Dub is very much a physical music, you can literally feel the bass run up your spine. Do you feel that this what makes it such a deep and spiritual thing? What is it about dub that resonates so deeply with you and listeners?

DG: You definitely feel musical instruments in different parts of your body, the drums or beat hits your ass, while guitar hits your head, and the bass, especially in dub, that hits you in your chest – it’s heart music. The rhythm is the heartbeat and the bass massages everything around it. I’ve been following this frequency most of my life, in 5th grade I joined the school orchestra and played the upright bass because I loved that low tone, so rich, so warm and by the time I was 13 I was immersed in punk rock and I got my first bass guitar. Then in ‘85 Bad Brains came to town, and when they dropped into their dub and reggae grooves, I felt it coming from a sound system for the first time – that bass just penetrated my chest and I was hooked!

MV: Aside from the deep drum and bass that provides the backbone of your music, there are experimental, ambient and ethnological and tribal elements that create an intricate web of sound and music. How do you weave all of these seemingly disparate elements together and what ultimately are you seeking to create?

DG: Well, the quickest answer I can give is to remind you that my label is called Destroy All Concepts – for me it’s about tearing down boundaries and pushing the envelope to create something that is original and fresh. I have never been one to fit things in a box – if you can’t challenge people a little, then what’s the point?

ON ARTISTIC APPROACH/MESSAGE

MV: Touching upon your chosen artistic name, Dub Gabriel. I interpret that as a sort of messenger of dub, if the biblical definition of Gabriel is taken into consideration. Are you a messenger of dub and beyond and if so, what would the message be?

DG: I am honored that you dug so deep into the underlying concept of my name but, I am not nor do I want to be the messenger of anything. I find that it’s always better to be the student than the teacher. The main reason I chose the name Dub Gabriel is that when I first started 15 years ago, everyone was DJ this or DJ that, and the last thing I wanted to do was to follow that trend. I was already experimenting in my DJ sets by incorporating guitar pedals and multiple turntables, so I chose Dub because it was essentially what I was trying to do in my live performances – and Gabriel, well, that is actually my birth name. But, I kinda like your take on it better so maybe I’ll use that one in my next interview!

MV: How does your music reflect your larger philosophy and politics?

DG: There is no separation for me between music, philosophy and politics. They are all part of my genetic makeup and to deny any one of them would be inauthentic to my art.

MV: Do you want your music to be transformative, to educate people and to expand their ideas of sound? What do you want people to leave with after they’ve experienced your music?

DG: In some ways I like to view my music like a riddle or a code. If you figure it out, then you get it but what you get may or may not be a certain philosophy or answer, it might just be a vibe. Really the two things I shoot for in my music are firstly, simple enjoyment; and secondly, to also challenge the listener a bit. I find that it’s always good to have a little twist in it to make people scratch their heads a bit.

MV: You now reside in San Francisco, how does living there work for you as opposed to New York City? It seems like it would be more conducive to experimentation and exploration, whereas New York City now seems more upfront and direct.

DG: Well, I loved my time in New York and I do miss my friends and music community there. I was there for 12 years and it will always be a home to me. I left NY in 2005 and moved to Berlin, it was post 9/11 NY, Bush had won a second election and I just felt like NY was dead and that it was time to move on. Berlin to me was like Brooklyn used to be, I had been going back and forth since 2002 and it still is my home base when in Europe. Anyway, I spent a year and a half in Berlin and when my visa expired, I moved back to NY. But it turned out that I was over the NY rhythm, always just scraping by and paying too much rent for shitty flats. I decided I would much rather spend 2 hours eating meals with friends at a café than the usual NY 20 minute dash with everyone checking their iPhone every 2 minutes. I was just hitting a different stage in my life – I wanted to take more time to really develop my craft and SF was the only place in the States that I could think about living in besides NY. My girlfriend at the time, now my wife, is from here and it just worked out. I dig on it, my life is more in balance out here and that helps me grow artistically too.

MV: Much of your music incorporates instruments of the Middle East and Africa. How do you approach this?

DG: In the early days when I was just discovering those kinds of music it was a pretty radical concept to sample their sounds and mash them up with dub, hip hop, drum & bass and other beats. Over the years I then started to work more directly in collaboration with musicians from the Middle East, India and Africa. These days though, that side of my music has more been dedicated to my work with Bachir Attar & The Master Musicians of Jajouka and the collaborative project we have called Jajouka Soundsystem

MV: Is it your desire to create a sound that is both organic and electronic?

DG: It definitely comes off like I am striving for that balance and to a certain point I am but, the electronic component comes more from the fact that those are the tools I have to work with. But I definitely make an effort to put that organic element into all my music, to breathe some life into a mix and give it some soul. The problem we have today is that we have too much good quality software at our disposal and things become too pristine and precise. Whereas in the old days I would say I spent most of my time trying to make things sounds clean, I now spend more of my time trying to destroy the sounds – you have to bring that chaos element into a mix. That is why I never like to do things 100% in one program or in the box, it’s important to use an analog synth, a tape delay or some other kind of noisemaker that can add a little looseness to your music and give it a more human feel.

MV: Your music is infused with messages, both in their song titles and lyrics. Clearly you have both personal and political messages to deliver with your music.

DG: Well, like I was saying before, there is no separation between my music and the rest of me, everything is connected. It doesn’t matter if it’s my music, posting something on Facebook or cooking a meal, everything I represent is honest and from the heart. I quit a working day jobs 12 years ago and totally dedicated my life and lifestyle to always be a true expression of who I am. So if I’m being political, philosophical, or just being a smart ass, it is all part of me and it comes out in everything I do. It’s about just letting things flow in every aspect of my life. So I’m really not trying to deliver people a message as much as just making my statement and letting you pull from it what you want. I like to present questions more than answers.

MV: There is both a calmness and an intense chaotic energy to your music, it runs the full spectrum of sonic experience. How do you reconcile what seems like opposing sounds?

DG: All of creation is based on opposing or contrasting forces: life/death, man/woman, war/peace – you cannot have one without the other. That is why the best comedians are usually the ones who have suffered the worst. It is the ultimate irony and I do like to represent those things with my music. I love to work with instruments like they’ve been playing in Jajouka for hundreds of years and reinterpreting them using Ableton Live and the APC 40. I also like mixing sounds of beauty with more challenging sounds to create something totally new for people to hear.

[vimeo 5583584 w=500 h=275]

Jajouka,David J, Dub Gabriel & More @ destroy all concepts from DESTROY ALL CONCEPTS on Vimeo.

ON TOURING

MV: You’re brought your sound, utilizing an APC40, to a wide range of clubs and venues including Twilo, Kush, Halcyon, Galapagos and points across the globe such as a headlining set at Germany’s legendary Fusion Festival, two tours of China, Canada’s Shambhala Music Festival and regular guest spots at François K’s “Deep Space” night at Cielo in NYC. Impressive to say the least! How have you seen the reception to your music evolve and grow? Are people more in tune with your approach now and what barriers do you feel have to be overcome to truly connect with your audience so it’s not just entertainment?

DG: Some of those clubs you mentioned were before the APC40 existed, and back then I was spinning records. I love vinyl and love to DJ with it but, you can only take things so far with it and I have always been driven to be more live and interactive in my sets. More than any DJ’s, my heroes are people like King Tubby and Lee Perry. As I’ve mentioned earlier, I entered into DJ’ing after many years as a bass player, so when it came to beat-matching vinyl, it came naturally to me as I was very used to locking in the groove with the band. But now with tools like Ableton Live and the Akai APC40, I can do now what I’ve always wanted to do, which is to create my own hybrid that bridges DJ’ing with live electronic and live studio style dubbing. We keep hearing stories these days about the biggest name DJ’s who just play pre-recorded sets and fist-pump the whole time… Well, that is the complete opposite of what I’m about – not only is it boring to for the crowd but, it’s boring for me as a performer too. I want to bring a live feel to the electronic genre and not just put out the same old set every time I play. Years ago I would gig out using my Akai MPC4000 and people were so much more engaged seeing someone using it live, even though they didn’t necessarily know what was going on. Crowds these days are much more technologically aware, and since I’ve started to gig using the APC40, people know that I am not just using Serato or Traktor, but doing something way more involved. Now at my shows I have a great connection with the people that are surrounding the DJ booth or right front of the stage, they are usually hardcore music lovers and I feed off of them just as much as they do off of me.

MV: Since you’ve traveled the world with your music, do you see it as a healing, uniting and educating force? How do American audiences respond to what you’re doing as opposed to other parts of the world?

DG: Music has always been a healer, It doesn’t matter if it’s mine or someone else’s, I have a real emotional connection with music and I think the first step in making great music is being a fan of others, so it all works in cycles. As far as the response to my music in America vs. other parts of the world, well, sadly America has always been more difficult. Up until just the last few years there really weren’t that many venues in the States for what I do – one positive aspect of the dubstep explosion is that it has helped build more opportunities for touring in the US. But Americans need to fit music into boxes in order to understand them, which is in contrast to other countries I tour in – even if they don’t know what it is at first, they are more open to experiencing new things. I think America is slowly coming around but people here have a tendency to take the dub element out of electronic music, which is obviously what I love about it. When jungle and drum & bass came out, it was definitely rooted in sound system culture, but once it came to America, the American producers took that element out of it. The same with dubstep, when it first came out of the UK, it was heavily influenced by dub, but when the American producers took it mainstream, all the dub was replaced with bad top 40 elements. It isn’t always bad for these crossovers to happen, unless it kills off everything, as it can expand people’s horizons and bring them together. In my case if it wasn’t for The Clash, I’m not sure I would ever have discovered dub, and as a result, dug deeper and found out about Mikey Dread. Or if Bill Laswell had never produced the P.i.L. album or if Adrian Sherwood hadn’t remixed Neubaten… You will always have a base of people who will dig deeper instead of chasing every trend and those are the people that I am interested in

BEYOND

MV: In addition to your output as an artist, you also run Destroy All Concepts label. What is its mission and what are some of the other artists represented by the label?

DG: I originally started d/a/c primarily as a vehicle for my projects that didn’t necessarily fit on other labels. But now with this upcoming release I have switched things around and will be focusing the majority of my output on Destroy All Concepts while still working with other labels for specific projects. As far as our mission, the name really says it all and to date we have released my collaborations with people like Michael Stipe of REM, Yo Majesty!, 77Klash and more. But having done all the hard work in setting things up properly means that we also have the infrastructure support other artists we care about so we’ve been able to release standalone projects by The Master Musicians of Jajouka, DJ Kiva and Other Weapons (Process Rebel).

MV: What can we expect from Dub Gabriel now with the new recording released?

DG: Well, the music is yet to be released but now that the Kickstarter is over, we are working away on the final stages leading up to it’s release. I suppose now would be a good time to mention that the new album will be called “Raggabass Resistance” and it was just mastered in London by the legendary Kevin Metcalfe who has mastered probably half my record collection, everyone from Brian Eno to King Tubby. We are looking at a full commercial release in early Spring 2013 (the Kickstarter folks will get it in February) and once it’s out, my focus will be on pushing the raggabass sound in every way I can. There are a series of record release parties in the works for the US and I will also be touring internationally to support it. 2013 will also see the release of remix album featuring remixes by Jack Dangers, Liquid Stranger, Subatomic Sound System and others TBA and I will be releasing my first Dub Gabriel Loop Library for all the global bass producers out there.