My time drumming with Dire Straits: Dunproofin Interview Pt 1
Next in this series of interviews with originators of the UK’s bootleg scene (mash ups) is Scotland’s Dunproofin’. There’s a classic track to download. He’s actually one of the few bootleggers to have featured in the alphabetical run down from years back (here)
1. How the devil are you? And what’s the weather like in Aberdeen?
I’m good, thanks for asking. The weather, like Aberdeen, is mostly grey with occasional sparkles.
2. How did you get involved in music?
As a listener music has been a strong element from my family, and it’s something I’m really keen to pass on if possible. It is a cliché, but I really do think life would be a lot duller without exposure to music in as many different forms as possible. without As a participant, as a kid learning piano (which I hated at the time), graduating through school bands on the drums (playing bad covers mostly of Beastie Boys, Undertones, PiL and, erm, Dire Straits) through to Uni Bands (getting better – Faith No More, some originals and, erm, Guns & Roses). Started DJing after the band spilt which leads me into your next question rather nicely ..
3. I don’t know how you feel about mash-ups these days. But how did you get involved in doing them?
Answering in reverse … I used to buy a lot of bootlegs on vinyl when I was at the peak of my DJing career. I had a very good pusher! I figured I could possibly do this, so did. Posted a efforts couple online at another website (homemofmusic.com which now seems to have disappeared completely) then found out via the magic of google and Go Home Productions’ website that other people did the same …. which took me to GYBO. As I’m getting older, I’m admittedly finding it more difficult to get enthusiastic about mashups as I think a lot of the surprise factor has now gone. I still dabble though.
4. What role, if any, did Boomselection or GYBO (in any of its various guises) play?
Large. Boomselection was kind of impenetrable for me for the large extent as I was later to the party than some, and by that point the self publish / publicise option of GYBO was the major outlet for this kind of music. GYBO played a huge part in the musical opportunities that it opened up for me, and introduced me to a lot of people who are now friends. The direct interaction really encouraged me to continue to try new things, and for the most part there was genuinely constructive criticism that was on point.
5. These days there’s all sorts of software but what did you use back then? I assume it wasn’t scissors and tape?
I’m a technical luddite in some respects – have pretty much stuck with Sony Acid and continued to use that to this day as the main software package. I genuinely believe the package is not as important as the sounds coming out of it, and I’m pretty comfortable with it for doing the donkey work leaving me to concentrate on finding new ways to get new sounds out of it and actually focusing on the structure of the track.
Dunproofin – Casbah Wonder (The Clash v Stevie Wonder)
Lots more here: http://www.dunproofin.com/