From the ‘90s right through till 2012, Dave Tipper has followed his own rules. His production acumen and self-coined “penchant for rude basslines” has spawned a prolific string of EPs and albums, largely via his own Tippermusic imprint. A proven favourite in Australia, Tipper is returning this summer as part of the Rainbow Serpent Festival line-up. We caught up for a quick chat with the bass innovator.
We’ve been getting a good rinsing out of your Soundcloud mix from the tail-end of 2011. How would you describe your musical headspace at the moment?
Well, after spending so long on the last downtempo album I’ve been focusing more on dancefloor tracks again, building material for my live sets. Undoubtedly, it wont be too long before I tire of that and switch to something else a little less formulaic. At the moment, I’m just trying to focus on the actual enjoyment of making music and not get too caught up in the peripheral nonsense.
You could certainly feel your love of strange noises and frequencies still alive and well on the Bubble Control EP. Were there new studio techniques you tried out in making those tracks?
There weren’t necessarily new techniques, but a lot of new plugins. Over the last couple of years I have been using a great deal of the UAD plug-in range, which has helped to sharpen up the production a fair bit.
With an album like Broken Soul Jamboree, how much consideration has to go into the ordering of the songs so it works as a complete experience?
When I make a full length listening album, the idea – and it’s a very common one at that – is for it to be experienced from start to finish as a ‘journey’, for want of a better word. The flow of the album is very clearly dictated by the order of the tracks and sometimes I’ll make significant adjustments to intros and outros in order to ensue continuity. So a lot of consideration will go into ordering the songs.
Broken Soul Jamboree is quite concise as a listening experience; nothing about it feels extraneous. Was it an intentional approach to keep the album ‘streamlined’, for want of a better word?
The only thing I pre-determined was that the album should be a listening experience, not dictated by the dancefloor in any way. Through no fault of its own, it developed a strangely space-aged Eastern feel. So in retrospect, it sits rather nicely with my other downtempo albums in that it offers a different flavour, whilst maintaining a familiar vibe.