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Song Name Time
Salt Step
Beauty and the Bass
Digital Vintage
Dub and Happiness
Let Him Have It
50 Ways to dook Tha...
EdMani ft. Eleanor

All tracks produced by Neil Salter.

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Salt-uh has been producing music since the late 1980's. He started getting involved with digital production as the technology became available. His first release was a Hip Hop outfit that he and 2 former school friends formed in 1992 called 'The Dookie Squad'. The first release was released in 1994 called the '6ft Under' EP and they still produce new material to this day. 'The Dookie Squad' still Tour as often as they can and have a large following in western Europe.

In the late 90's, Salt-uh dabbled with Drum & Bass for a while producing a couple of records for Formation Records under the name of Majestic 12 with Massive. The track 'Resonant Evil' hit number 1 on the Drum & Bass Arena chart in 1997 and is still a classic.

During the late 90's through to the noughties, Salt-uh spent most of the time producing and engineering for other musicians adding his unique sound to their music. A majority of the music that Salt-uh was working on at this time was Jazz and he worked with musicians, Pino Palladino, Bryan Corbett, Sara Colman and Levi French, to name a few. He also was in a Band called Morphis with Levi French and Sara Colman which produced many songs liken to Massive Attack and Portishead. Salt-uh and Levi went on to create many projects together and there are still ideas in the pipeline today.

Salt-uh started to produce Dubstep in 2008 and like in most of his music, he likes to use real vintage instruments of yesteryear. His production techniques follow similar techniques that were used in the 60's and 70's with valve state hardware and analogue equipment at the forefront of his digital production suite. Whilst working with so many musicians over the past years, he has been inspired by the warm, timeless sound of many of these classic instruments. He still likes to use his hip hop roots in his Dubstep with the classic Hip Hop break beats placed in most of his tracks, not normally at the front of the tracks but usually can be found just tickling away in the background of the acoustic spectrum.