Of course there is.
There is so much to know, but without the foundation that has been laid in the preceding chapters of this tutorial that knowledge can lead you into the wrong direction and you'll end up being just another Techno producer. Nothing wrong with that, just naming things the way they are. This tutorial is named "Making DUB With Computers", so that's what we want to achieve.
Throughout this tutorial you can read how I touch on that essential aspect of Reggae Music, being a means of communicating from one soul to another. In spite of all the prejudice from every thinkable side, it is quite possible to make that music that touches the hearts just using a computer and software. Remember, both analogue and digital techniques are just that, techniques. Techniques don't do a thing until they are utilized deliberately out of a motivation that is not technical, but rather artistic. You can teach "everybody" to paint, but only those that have that urge and desire and potential ability (aka talent) will actually be able to utilize the technology in order to create that artistic product.
You can learn how to use which kind of technology on what kind of place and time in a mix, you can learn how to make incredible compositions with complex chordical structures and what have you, it's nothing without that drive. I assume you have that drive, if only because we've entered the 32nd chapter and we're about to dive quite a bit deeper into the production and mixing techniques. I assume you sometimes hear that Dub in your head, that Dub you want to create but just don't know how to.
With all the possibilities in the field of audio (loops, for example) and incredible innovations DAW's like Propellerhead's Reason and Ableton's Live have introduced to the studio's, several new genres and techniques have come into existence. Just think about Dubstep. I mentioned before how this is considered to be a genre that is actually mostly created by producers using only a computer. It's important to realize the fact that the mere existence of the computer is a decisive factor for new styles and genres, where the music we deal with in this tutorial was there long before computers like we have today.
With these new styles come new techniques, and that's why they are relevant for us. It is very interesting and a learning experience to dive into Dubstep websites, Sample Boutiques and magazines dealing with Computer Music. They give tips, tricks, sounds: a lot can be integrated in the DUB production process. However, it should not be the other way around. As soon as you adjust your sound and production processes to the way "every" music producer using DAW's goes, you've compromised and this will eventually turn up unapologetically in your tunes. This is what happened to many Reggae producers when they wanted to adjust their Roots style to the Branch that had come into existence (Hip Hop) and subsequently created "Dancehall". Dancehall, today, is a form of American R&B and has nothing to do with Reggae. This is what happens to DUB producers when they turn their Reggae-driven DUB into loop-driven Music. Their music will become another form of Techno.
Music like Techno, House, Dubstep: all loop-driven.
Reggae makes use of what an uneducated person would call loops. Remember how we created our first Reggae instrumental? First two bars, then copy and paste and make changes like breaks and thing. Yes, you could mistake that for making loops. This is why some approach the music as a loop based music. However, there are differences.
In Techno, they will use a loop and change the sound of that loop, or the rhythm using midi pattern changes, or both. In Reggae (and therefore in DUB), there is a lot of repetiveness in drums, bass and skanks which could easily be mistaken for loops, especially because in the creation of a riddim, loop technology can be utilized.
The devil is in the details, they say, well this difference is one such detail. One such detail why I stress the importance of the fact that DUB pre-dates the computer.
What we do is use the computer to re-create that Dub situation of old times and make thoughtful use of the possibilities the digital machine gives us without cutting ourselves from the Roots, not the other way around. Just like we first create a Reggae track, before we can remix it into a Dub. You can't (un)mute when there is nothing to (un)mute!
You can record a complete Reggae track with a band using a multi-track audio DAW (that would be any DAW basically), you can make your own track using MIDI technology like we did in previous chapters, or you can use loops.
Whatever (combination of) modern techniques you use, use it to create an instrumental Reggae track (or add vocals) first.