Meet the Engineers
The mix engineer here at Dub Studio is Benjamin Tregaskes. His keen ear for music has been honed over the best part of a decade, working in the music industry as a producer and DJ under the name Lurka (Discogs). He came to Dub Studio from a top UK record store where his exhaustive knowledge of music lent itself to the acquisition of stock for sale in the shop and online. He knows exactly what a record needs to sound like to sell, and he applies this knowledge to each mix, so that by the time it gets to the mastering stage, only the very final tweaks are needed.
There is nothing quite like cutting a dub and playing it in a club to test how a track will go down, and through his connections in the Bristol music scene and beyond, and his regular gigs and releases, Lurka has a unique perspective on the type of work we do. So if anyone can offer advice on how a mix or dub should sound, its him.
His releases include: Tempted (Black Box) Return / Stabiliser (Box clever), Commodo Vs Lurka - Airtight / Gassin (Black Box), Forgotten Ones / Refresher (Box Clever), Commodo Vs Lurka - Capisce? / Glue Sniff Riddim (Black Box), Full Clip / BR Greaze (Hotline Recordings), Holding EP (Black Acre) with many more in the pipeline.
For more information and to hear his work, see: soundcloud.com/lurka / facebook.com/LurkaUK / twitter.com/Lurka_UK
The head mastering and vinyl cutting engineer at Dub Studio is Henry Bainbridge. He is responsible for ensuring all the dubs are mastered well, and cut successfully. He checks each dub once it has been completed to make sure it reaches the high standards expected by our clients, and only flawless cuts are packaged up and sent out. We would rather recut a dub than lose a client, so quality control is paramount.
Henry is a passionate advocate for vinyl, and believes that there will always be a place for vinyl in the music industry. He works hard to ensure that no matter what other formats and devices come and go, people will still be able to play their favourite tracks by placing a needle on a record and watching it spin.
At a time when the music industry was ditching vinyl and making a wholesale switch to digital media, Henry stuck to what he believed in and invested all his time and energy into perfecting the vinyl cutting process. Now that the digital revolution has taken its toll on the music industry, and music retailers are struggling to find ways to sell music, vinyl has once again emerged as an attractive option. Vinyl sales are on the up, and Henry's skills as a vinyl mastering engineer are in high demand.
He believes that music is one of the greatest joys that life can bring, and that it should be treated with the utmost care and respect. He knows that nothing can really compete with vinyl as a way of handling recorded material:
"No other format lasts as long, looks as beautiful and has such a unique sound quality. Digital media may be quicker, cheaper and easier to reproduce, but that does not mean its better. In an effort to find the perfect way to record, copy and share music, we have forgotten that a little bit of character is a good thing".