I've just asked several AI chat bots how to produce Dub music on a popular DAW.

My opening prompt each time was:

"Suggest a tutorial for creating a Dub reggae track in Cubase 14 Pro using UAD analog emulation plugins"

DeepSeek blew them all out of the water.

CoPilot and Bing provided links to other tutorials, mainly on YouTube.

ChatGPT linked to other tutorial websites, not necessarily YouTube.

Gemini presented an initial framework/template allowing forking to more detail. Not bad.

Perplexity claims it has intergrated DeepSeek now and presented a top level tutorial better than all the above. It provided similar results to DeepSeek, but the DeepSeek output (behind the spoiler tag below) blew me away with its accurate understanding of the individual UAD plugins (compression, reverb, delay etc).

Claude performed similar to Perplexity, but presented a better outline.

DeepSeek gave me exactly what I wanted and more.

Spoiler

Here’s a step-by-step tutorial for creating a **Dub Reggae track in Cubase 14 Pro** using **UAD analog emulation plugins**, inspired by classic techniques from pioneers like King Tubby and Lee "Scratch" Perry:

---

### **1. Set Up Your Project**
- **Tempo**: Dub is typically slow and groovy. Set Cubase to **70–90 BPM**.
- **Time Signature**: 4/4.
- **Track Template**: Create a basic rhythm section:
- Drums (Kick, Snare, Hi-Hats, Rimshots)
- Bassline (Electric Bass)
- Skank Guitar (Short, choppy chords on offbeats)
- Organ/Piano (Stab chords)
- Optional: Horns, vocal snippets, or sound effects.

---

### **2. Record Basic Tracks**
- **Drums**: Use a **minimal, spacious groove**. Focus on kick, snare, and hi-hats.
- *Tip*: Use MIDI grooves from Cubase’s **Groove Agent SE** or acoustic drum samples.
- **Bass**: Record a **sub-heavy, melodic bassline** (root notes with occasional walks).
- **Guitar/Keys**: Use **offbeat stabs** (e.g., chords on the 2nd and 4th beats).

---

### **3. UAD Plugin Chain for Dub Effects**
Dub relies on **heavy analog processing**. Load these UAD plugins:

#### **A. Drum Processing**
- **Kick/Snare**:
- **UAD Teletronix LA-2A** (smooth compression for punch).
- **UAD Pultec EQP-1A** (boost lows at 60Hz, add “air” at 10kHz).
- **Hi-Hats/Rimshots**:
- **UAD AMS RMX16** (add a short, bright digital delay for “space”).

#### **B. Bass Processing**
- **UAD Neve 1073** (boost mids at 1.2kHz for clarity).
- **UAD Fairchild 670** (gentle compression to glue bass to drums).
- **UAD Galaxy Tape Echo** (add subtle slapback delay).

#### **C. Guitar/Organ**
- **UAD EMT 140 Plate Reverb** (drench stabs in reverb with a **3–4s decay**).
- **UAD Roland RE-201 Space Echo** (use tape delay with **feedback set to 50%**).

---

### **4. Create the “Dub Sound” with Automation**
Dub is defined by **live mixing tricks**. Use Cubase’s automation lanes to manipulate effects in real time:
- **Delay Throws**: Automate UAD delays (e.g., Space Echo) to “throw” echoes on snare hits or vocal snippets.
- **Reverb Drops**: Automate the EMT 140’s wet/dry mix to drown elements momentarily, then cut abruptly.
- **Filter Sweeps**: Use **UAD Moog Filter** on the master bus to sweep out high/low frequencies.

---

### **5. Master the Dub Vibe**
- **Master Bus Chain**:
1. **UAD SSL G Bus Compressor** (glue the mix with 4:1 ratio, slow attack).
2. **UAD Precision K-Stereo** (widen the stereo field).
3. **UAD Ampex ATR-102** (add tape saturation for warmth).
- **Final Touches**: Drop out entire sections (e.g., mute drums for a bass-only break), then bring them back with a delay wash.

---

### **6. Recommended UAD Plugins for Dub**
- **Delays**: Roland RE-201, Galaxy Tape Echo, AMS RMX16.
- **Reverbs**: EMT 140, AKG BX20 Spring Reverb.
- **Compression**: LA-2A, Fairchild 670.
- **EQ**: Pultec EQP-1A, Neve 1073.

---

### **7. Bonus: Classic Dub Techniques**
- **Spring Reverb Drips**: Use **UAD AKG BX20** on snare with extreme settings.
- **Phase Tricks**: Pan delays hard left/right and automate phase inversion (**Cubase’s Mixer > Phase button**).
- **Drop-Outs**: Create sudden silences, then blast back in with bass and echo.

---

### **Cubase-Specific Tips**
- Use **Group Tracks** to bus drums, bass, and instruments for collective processing.
- Enable **Delay Compensation** (Studio > Studio Setup) to avoid timing issues with UAD plugins.
- Save your FX chains as **Cubase Track Presets** for future dub projects.

By combining Cubase’s workflow with UAD’s analog warmth, you’ll capture the raw, experimental spirit of dub! Let me know if you need specifics on routing or plugin settings!

2nd prompt:

"Please tell me about specifics on routing and plugin settings"

Here’s a detailed breakdown of **routing strategies** and **plugin settings** tailored for a Dub Reggae track in Cubase 14 Pro, using UAD analog emulation plugins to achieve that gritty, spacious, and dynamic sound:

---

### **1. Routing Setup for Dub Effects**
Dub relies on **auxiliary sends**, **parallel processing**, and **real-time automation**. Here’s how to structure your Cubase project:

#### **A. Group Tracks (Buses)**
- Create **Group Tracks** for:
- **Drums Bus**: Route kick, snare, hi-hats, and rimshots here.
- **Bass Bus**: Dedicated group for bassline.
- **Instruments Bus**: Guitars, organs, horns.
- **FX Bus**: For delays, reverbs, and other effects (more on this below).

#### **B. Auxiliary Sends (FX Channels)**
- Create **FX Send Tracks** for shared effects:
1. **Delay Send**: For Space Echo, tape delays.
2. **Reverb Send**: For plate/spring reverb.
3. **Dub Siren/SFX Send**: For vocal snippets, sirens, or percussion hits.

- *How to Route*: On each instrument track (e.g., snare, guitar), set up **pre-fader sends** to these FX channels. This lets you process the dry signal independently.

#### **C. Parallel Processing**
- **Dub “Wet” Bus**: Create a separate bus with extreme effects (e.g., 100% wet reverb, infinite delay feedback). Blend it subtly with the dry signal for depth.
- **Drum Room Bus**: Send a copy of your drums to a UAD Lexicon 224 reverb (short decay) to emulate a “studio room,” then mix it under the dry drums.

---

### **2. Plugin Settings for Key Elements**

#### **A. Drums**
- **Kick**:
- **UAD Teletronix LA-2A**:
- Compression: 3–5 dB gain reduction.
- Peak Reduction: 30%.
- **UAD Pultec EQP-1A**:
- Boost 60Hz (+4dB), Attenuate 100Hz (-3dB).
- High-Frequency Shelf: +2dB at 10kHz.

- **Snare**:
- **UAD Fairchild 670**:
- Fast Attack, Slow Release.
- 4:1 Ratio, 2–3 dB reduction.
- **UAD Roland RE-201 Space Echo**:
- Delay Time: 300ms (sync to 1/4 note).
- Feedback: 40%, Low-Pass Filter: 5kHz.
- *Automate Feedback* to spike during fills.

- **Hi-Hats**:
- **UAD AMS RMX16**:
- Digital Delay: 1/16th note timing.
- Modulation: 15% for metallic shimmer.

#### **B. Bass**
- **UAD Neve 1073**:
- EQ: Boost 1.2kHz (+3dB) for mid-range clarity.
- High-Pass Filter: 50Hz to remove rumble.
- **UAD Galaxy Tape Echo**:
- Delay Time: 250ms (slapback).
- Feedback: 15%, Mix: 20%.
- **UAD Precision Delay**:
- Add a second delay (1/8th note) panned hard right for width.

#### **C. Skank Guitar/Organ**
- **UAD EMT 140 Plate Reverb**:
- Decay: 3.5s, Pre-Delay: 20ms.
- Dampen highs with the built-in EQ (cut 8kHz).
- **UAD Moog Filter**:
- Low-Pass Filter: Sweep from 200Hz to 5kHz during breakdowns.
- Resonance: 30% for a “wah” effect.

#### **D. Master Bus**
- **UAD SSL G Bus Compressor**:
- Ratio: 4:1, Attack: 30ms, Release: 0.1s.
- 2–3 dB gain reduction to glue the mix.
- **UAD Ampex ATR-102**:
- Tape Speed: 15 IPS, Bias: +2.5.
- Input: Drive into the red slightly for saturation.
- **UAD Precision K-Stereo**:
- Width: 110%, Focus: 40% to avoid phase issues.

---

### **3. Automation Techniques**
Dub is all about **live, dynamic manipulation**. Use Cubase’s automation lanes to control:

#### **A. Delay Throws**
- On the **Space Echo Send**:
- Automate **Feedback** from 40% to 80% on snare hits.
- Automate **Delay Mix** from 20% to 100% during vocal echoes.

#### **B. Reverb Drops**
- On the **EMT 140 Plate Reverb**:
- Automate **Wet/Dry Mix** from 30% to 100% before a drop, then cut to 0% abruptly.

#### **C. Filter Sweeps**
- Insert **UAD Moog Filter** on the Master Bus:
- Automate **Cutoff Frequency** from 20Hz to 20kHz over 8 bars for a dramatic build.

---

### **4. Advanced Routing Tips**
- **Sidechain Compression**:
- Use the **UAD Fairchild 670** on the bass bus, sidechained to the kick drum. Set a fast release to let the bass “duck” under the kick.
- **Feedback Loops**:
- Route the output of a **Space Echo** send back into its own input (via a Cubase Aux Track) for self-oscillation. Control with a limiter!
- **Hardware-Style Inserts**:
- Use UAD’s **Unison Preamp** technology on audio tracks (e.g., Neve 1073 Unison) to emulate analog signal flow before hitting Cubase’s mixer.

---

### **5. Cubase-Specific Workflow Hacks**
- **FX Track Presets**: Save your UAD plugin chains (e.g., “Dub Space Echo” or “Plate Reverb Drip”) in Cubase’s **MediaBay** for quick recall.
- **Quick Controls**: Map UAD plugin parameters (e.g., delay feedback, filter cutoff) to Cubase’s **Quick Controls** for hands-on tweaking.
- **VST Connections**: If using UAD hardware (e.g., Apollo), route external inputs through UAD plugins via **Cubase’s VST Connections** panel.

---

### **Summary of Key UAD Settings**
| **Element** | **Plugin** | **Key Settings** |
|--------------------|-------------------------|---------------------------------------------------|
| **Kick** | LA-2A + Pultec | 60Hz boost, 10kHz air, 3dB compression |
| **Snare** | Fairchild + Space Echo | 4:1 ratio, 300ms delay, 40% feedback |
| **Bass** | Neve 1073 | +3dB @ 1.2kHz, 50Hz high-pass |
| **Master Bus** | SSL G + Ampex | 4:1 ratio, 15 IPS tape, +2.5 bias |

---

This setup will give you the foundation to experiment like a dub scientist—just remember to **break the rules** and embrace chaos! Let me know if you want help dialing in a specific sound (e.g., spring reverb drips or tape saturation).

 

AI can only suggest a general path, but it’s you who has to implement and fine-tune everything. Simply getting a bunch of numbers and settings from an AI isn’t enough because:

1️⃣ AI doesn’t hear, so it can’t precisely tell you what’s best.
2️⃣ Even if it could, your perception of sound is different from AI’s, and your personal taste ultimately defines what works best.
3️⃣ Music production (especially in genres like Dub) is a creative and experimental process, not just following fixed numbers.

So, the key is to use AI suggestions as a starting point, not a definitive formula!


Overall, DeepSeek is amazing, and it’s definitely going to reach great heights.

As for Microsoft’s AI, I’d say it’s more of a search engine than an actual AI. In my opinion, it’s pretty useless and ineffective. The same goes for Google Gemini—it’s not much better.

The best ones are ChatGPT and DeepSeek, though DeepSeek is on another level when it comes to providing answers and guidance.

That being said, as I mentioned before, just take AI suggestions as a reference—don’t blindly follow its numbers or recommendations. Always trust your own judgment!

 

please make sure you know what to expect from those AI chatbots,

AI chatbots do not understand, and they are not designed to provide facts,
based on your text input (and internal system prompt), you are given a most statistically acceptable chain of words,

if you want to specify such statistical randomness of output, you can narrow context by adding more info (like pdf manual for ex.) - then it's not a simple LLM anymore but RAG