Dubspot Instructors

Our instructors are more than talented musicians, more than human software manuals and more than insightful critics; they are mentors, genuinely interested in seeing students develop and grow as artists. Their collective experience spans many fields, continents and years. They are the heart of your Dubspot experience.

Picture of John Selway

John Selway

Electronic Music Production Instructor

Born to music teachers and trained from youth as a multi-instrumentalist, John Selway has been in the mix from the get-go. Taking up electronic dance music from his home base in NYC in the early ’90s, John has faithfully represented his town at every turn.

As an artist, a record slinger, a label owner and more, he is a musical force to be reckoned with and a bona fide pillar of the scene. Without going too deep into the litany of names we could check, trust us when we say the man’s resume is unparalleled. Selway has blazed many paths, collaborated with a variety of talents, played nearly everywhere, mastered numerous styles and broken a few boundaries, risen to techno stardom and never forgotten his roots. So many a DJ and producer who are respected worldwide will admit to being mentored at one point in their career by this true innovator.

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Picture of Abe Duque

Abe Duque

DJ and Electronic Music Production Instructor

With a career that started in the early days of house and Techno at New York’s notorious Limelight, Abe Duque has been at the head of the acid-house and underground-techno table since his earliest releases way back in 1992.

His first tracks were influenced by the madness of the Limelight’s club-kid audience, later publicised by films and books like Party Monster and Clubland Confidential. From muscular and melodic techno to cocktail jazz and ambient interludes, his early tracks on his own labels Tension and Hollis Haus, his releases under pseudonyms like Kirilan, Super Secret Symphony and his releases on others’ labels like Disko B, Rapture!, Morbid, and Tresor captured a particular period of clubbing history bought to a sudden halt when the Limelight was shut down.

Duque by then had a thriving European and worldwide touring schedule, and musicially he still had roots in the underground. Abandoning the glossy, high-fashion style of Tension and Abuse Industries, Duque’s next sets of releases were on anonymous, vinyl only stamped with catalogue numbers like “ADR40″ [Abe Duque Records 40] and etched on one side at the pressing plant with strange, hand-drawn messages from the man himself.

In some ways Duque was turning his back on the New York style, and on his previous successes. As he describes it, “I wanted to prove that my music spoke for itself”. It did. Despite the secrecy about who had actually written the ADR releases, this second part of Duque’s career was a run of increasingly massive 12″ hits like Champagne Days, Cocaine Nights; Acid, Disco Nights, and in 2004 his monster smash with Blake Baxter, “What Happened?”, the track that launched Duque and Baxter out of the underground and into the spotlight. That track’s call for a turn away from safe, unchallenging clubbing sold 25,000 copies on vinyl alone and in 2009, it was the focus of a rare remix competition on ResidentAdvisor – despite Duque and Baxter’s refusal to market the track by signing it to any the 100s of compilations on offer.

Having been dragged out of the underground, Duque found himself feted by the mainstream, delivering hugely successful remixes of acts like the Chemical Brothers, Moby and Pet Shop Boys while continuing to work right across the techno world. There, his brutally funky basslines and acid influence were – and still are – hugely in demand for remixes of acts such as Miss Kittin, Remute, Chloe, Savas Pascalidis, Knart IV and Daniel Meteo – as well as DJ Hell, with Duque becoming a regular on Hell’s Gigolos label. The two had met moving in the same German and NY electronic circles since the Abuse Industries days, and so Duque was asked to produce Hell’s infamous album NY Muscle in 2003 and in 2006 to helm the well-recieved “American Gigolos II” compilation.

The highlight of this period, though, was Duque’s first album under his own name, “So Underground It Hurts”. The title was yet another example of Duque’s ambivalence about succcess and its trappings, but the album was undeniably a techno event. Reviewed in the fashion press as influenced by Gigolos’ German electroclash style, but the album was understood by the music press as something quite separate and self-contained.

Duque was again striking out along his own path. Part wild acid, part dark house and all leavened with Duque’s dry, quiet stoner humour, the album also provided a launchpad for Duque’s return to wild live performances – a whiskey bottle in one hand and a 303, drum machine, two PCs and a microphone operated by the other.

It was the start of Duque’s second, endless round of watching the world through the windows of a hotel and moving restlessly between his flat in Berlin and his spiritual home in Queens. Several years on the road with his stable of vocalists – Blake Baxter, Tijiana T, Acid Maria, Virginia, and occasional appearances by Abuse collaborator Andy Orel as “Sin” meant that Abe released only intermittently on his own label, Abe Duque Records. There, new tracks like the darkly funny It Moved Me, Whose Got the Flave, and a singles collection on CD When the Fever Breaks added to Duque’s reputation as the producer’s producer.

Eventually, though, Duque had had enough of continual touring. In 2011 Abe was invited to join the staff at Dubspot, an invitation that would make great sense to him. He had always had a passion for teaching and here was an oportunity to share all he had learned.

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Picture of Max Wild

Max Wild

Electronic Music Production Instructor

Saxophone innovator and producer Max Wild has been a forerunner on the Afro-jazz scene in New York since commanding international attention with his ObliqSound release Tamba, which features Zimbabwean vocalists Chiwoniso and the late

Sam Mtukudzi, as well as Wild’s all-star band from New York. Raised in Zimbabwe by German parents, and later moving to Berlin, London, and then New York, Wild was exposed to a broad spectrum of music from an early age. With credentials that range from performing with Grammy-nominated jazz tenorist Mark Turner to recording with Afropop icon Oliver Mtukudzi, Wild started producing music as well as incorporating electronic elements into his live performances using Ableton Live. He has performed at major jazz and world music venues and festivals around the world such as Nuits d’Afrique Montreal, Celebrate Brooklyn New York, Harare International Festival of the Arts Zimbabwe, Maalmakula Festival Estonia, Ronnie Scott’s Jazz Club London UK, House on Fire Swaziland, and Music Meeting Holland.

Wild is an accomplished educator and teaches music theory and ear-training at Manhattan School of Music Precollege as well as giving music workshops around the world. He holds a Bachelor of Music degree from London’s Guildhall School of Music and a Master of Music from Manhattan School of Music. In April 2012 he was recruited by Dubspot to teach Music Foundations.

VISIT MAX WILD ON THE WEB:
Website: maxwild.net
Facebook: facebook.com/maxwildband
Twitter: twitter.com/maxwildmusic
YouTube: youtube.com/maxwildmusic

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DJ Excess

DJ and Electronic Music Production Instructor

A pioneer in the world of scratch music and one fourth of the world-renowned Ned Hoddings which includes Toadstyle, Ricci Rucker and Mike Boogie; Excess refuses to adhere to musical boundaries, and is constantly searching for new and

innovative ways to blur the lines between genres. Excess has traveled all across the globe with shows in North America, Japan, Asia and Europe.

His efforts in melding standard music production with his turntable skills have solidified his place as one of the great DJ’s around. DJ Excess has performed and worked with artists and DJ’s such as: KRS-One, John Legend, Wu-Tang Clan, Jeru the Damaja, The Pharcyde, The Jungle Brothers, Vernon Reid (Living Color), Malcolm Mclaren (Sex Pistols), Public Enemy, DJ Grandwizard Theodore (Inventor of The Scratch), DJ AM, DJ Jazzy Jeff (Touch Of Jazz), DJ Honda, DJ Clue, DJ Mad Linx (Rap City, BET), DJ Q-Bert (Invisibl Skratch Piklz) The X-Ecutioners, The Beat Junkies, Dilated Peoples, DJ A-Trak (Fools Gold), DJ Craze and celebrity personalities such as: Carmen Electra, Claire Danes, and Sinbad.

Never content to simply be a run-of-the-mill Excess always works to take his skills to the next level. Looking for a way to realize his full potential as a DJ, he began his competition career in 1998 entering the International Turntablist Federation (I.T.F.) Western Hemisphere Scratching Championships. Though it was his first competition, he made a mark showing that he would soon be a force within the competition circuit. Once again in 1999 he would compete in the I.T.F. East Coast Advancement Class Championships which he would win, yet it wasn’t till 2000 that his break through would occur winning both the U.S. Advancement Class and Western Hemisphere Scratching Championships.

In addition to his competition titles, Excess is a main force along with fellow New York City native DJ IXL, behind “Hop-Fu”, a project melding Hip-Hop and Kung-Fu into an exciting audio-visual experience. Created by John Carluccio (Battle Sounds, Turntablist Transcription Method) and Barry Cole (Spot Music), Hop-Fu has been kicking and scratching around the globe since 1998. Other scoring projects have included “No Condition Is Permanent”, and “Apostrophe” for the graffiti collective The Barnstormers (SKWERM, KR, RO STAR, ESPO, etc.) in a melding of graffiti art and turntable compositions.

In 2004 Excess and the rest of Ned Hoddings joined forces with world renowned DJ D-Styles, formerly of the Invisibl Skratch Piklz and current member of the Beat Junkies and resident DJ at Low End Theory. As a group they collaborated as the Bastard Language Tour, touring North America as a quintet of highly skilled and innovative scratch musicians. The creative process and tour was documented and released as a DVD.

Excess’ impressive list of studio production credits include releasing Records and Mix CD’s, scratches done for Pepsi International, Sesame Street, Schieffelin and Sommerset, “Rappers Are In Danger” off of Fat Joe’s “The Darkside Vol. 1” album as well as music featured in the 2004 Showtime series “Street Time” and Styluswars Radio Station and DJ Excess character on the 2005 Playboy video game release “The Mansion”.

Excess’ artistry behind the turntables has earned him numerous accolades throughout his career including features in URB Magazine’s “Next 100″ issue, which featured the top 100 up and coming electronic musicians and entertainers of the year, as well as being featured in hundreds of publications including Newsweek, Scratch, The Source, XXL, and Fader to name a few.

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