There are two types of people in the world. People who appreciate sound systems and people who don’t.
More often than not, fans who attend shows and festivals on a casual basis won’t care if they’re listening to a premier sound system. They just want to make sure their molly is tested and their totem is tall enough for their friends to find them in the pit.
Then you have the audiophiles. The fans and industry professionals who know off the top of their head which sound systems are worth their weight and which ones are all hype. The ones who sit in the back of the club, shitting on the frequency response and phase distortion of your local garbage blaster.
While there are plenty of snobs on this side of the extreme, there are also a select few pure-hearted curators trying to make an honest impact within the chaos that is sound system culture. One particular crew that fits this profile is SubSanctuary coming out of Pittsburgh, Pennsylvania.
Founded in 2014, Shane Martin has been on a mission to create “system-centric shows” for audiences far and wide. From Secret Dreams’ renegades to curated events, Shane and his team have paved out a rich history for themselves.
Recently, we had a conversation with Martin regarding the legacy he’s created and how he hopes SubSanctuary gets remembered in history.
Max Vanegas: Where does the SubSanctuary story begin?
Shane Martin: SubSanctuary and its origins began out of a strong desire to hear the music we love in a safe space that allowed us to express ourselves freely. Eventually, a lack of high-fidelity sound systems in our local venues inspired us to up the ante and demand better quality for our artists and community. That looked like renting a hand-built Paraflex rig at first (shoutout to Manifest Sound System) and eventually purchasing our own so as never to have to compromise the sound quality at our events again.
MV: Who are the key members of your collective, and what roles do they play?
SM: I am the founder of the SubSanctuary freak party and wear multiple hats, including artist, curator, creative director, owner, operator, agent, and hospitality liaison. We have Jason Winkleman, co-founding father of the funk sanctuary, master DJ, audio nerd, speaker-mover, art rigger, hospitality assistant, and overall sweetheart. Finally, we have Brian Jones, a second-stage founding father, co-owner, Funktion-daddy, stage-manager, producer, educator, top-tier DJ, and A-1 audio lead
Brian Jones (Co-Owner), Shane Martin (Founder)
MV: How much did Pittsburgh shape your collective?
SM: Pittsburgh is where it all began for SubSanctuary, and to many people’s surprise, we have always had a thriving [globally-recognized] underground scene here that helped inform our audio palette and build upon the community that already existed. A handful of promoters who brought high-caliber, diverse artists to intimate spaces gave us a strong foundation in dance music, but there was always a lack in sound quality. I remember telling myself one night after experiencing a great DJ play on a lackluster in-house club system that this was it. There was no more waiting for others to do it, and we needed to focus on sound quality before we threw more events. So we sought out the one person with a hand-built rig in the city and prioritized using their system for our next series of outdoor parties, and then it all took off from there. Shout-out to Andre Shrock of Manifest Sound System.
Jason Winkelman (Right, Co-Founder)
MV: But now you’re working with a Funktion-One rig, right? What makes that system unique?
SM: Well, to start, our Funktion tops are #107 and #109 right off the assembly line, so they’re beautiful, well-maintained original Res2’s with only 1 previous owner. For those that aren’t familiar with Funktion-One tops, they have 3 different-sized drivers and excel in the mid-range where a lot of speaker manufacturers do not. Rather than having to overcompensate with sub volume, we’re able to hit the full range of frequencies between subs and tops without unwanted distortion and without omitting any crucial frequencies. Much of the “uniqueness” of our system lies in how we operate it; where our crossovers and limiters are set, how we are actively listening and tuning our system to the crowd, the room, and the type of music being played.
MV: How important is audio fidelity quality and sound system culture in what you do?
SM: It’s essential. We only host “system-centric” events these days. If the sound system and the music being expressed through it can’t be represented in its fullest capacity, then the event doesn’t happen. We take the “why do it” approach over the “why not.” It’s about respecting the craft of making and sharing deep-reaching, emotive music. If we can’t operate to our highest capacity, then it’s not worth doing. If the artists don’t deserve that then our listeners don’t deserve that, and neither do we.
MV: What’s the philosophy or mission behind your collective?
SM: To remind ourselves and our people of the power in community. The power of music and movement, and the numerous ways the party can spark and create tangible positive change in our world. “The job of the artist is to make the revolution irresistible.” What better way to do so than with some sexy sounding and looking speakers with freaky good music oozing out of them?
MV: Can you provide some details surrounding the urban clean-up events that you’re participating in?
SM: Many of our community members are involved in direct action and we’re always looking for places where the party can intersect with community empowerment. We’ve hosted art raffles for places of the world in crisis, brought supplies directly to Asheville, NC, when the recent floods hit. We sent money to the Palestinian Red Crescent for the paramount work they’re doing daily in Gaza, and we have plans to host some serious outdoor clean-up gatherings this spring/summer/fall in Pittsburgh.
Yheti B2B Toadface
MV: What’s the hardest part about running a collective like yours?
SM: I would say the toughest part is making it all sustainable in the safest and smartest way possible. Navigating the underground entertainment world can be treacherous and risky, and making sure our artists, patrons, and community get treated/compensated properly is always a challenge. Standing up for our people and demanding fair business relationships can be challenging but important work. Making sure you have the right people in place for each arm of the collective is another challenge, but we’ve been blessed to have good people involved from the beginning.
SM: Personally I like to maintain a close eye on all things creative and collaborative so I’m leaving less up to chance when it comes to the final product or event. Trusting the shared vision of many different people can pose a threat to the overall outcome of the experience so keeping things within reach and under a small umbrella of decision-makers has helped us mitigate larger challenges many other collectives might face.
MV: What has been your most memorable gig or event so far?
SM: Our 12-hour outdoor “system shootout” featuring 3 different local sound systems positioned around a geodome with round robin sets was a huge hit, as well as our inaugural sunset cruise boat party on the legendary Gateway Clipper. Having Epoch play on a 4-point Funktion setup and Glume and Phossa blessing us on our 10-year anniversary event were some nights that certainly stand out as well, not to mention our 3 consecutive years running a late-night renegade stage at Secret Dreams Festival.
MV: Sounds like you are about to embark on another significant milestone with Kicksville coming up. Can you tell me a little bit more about your involvement with that event?
SM: Kicksville is one we’ve been looking forward to for years, honestly. It’s the first 1000-cap festival produced by our longtime friends and Papadosio family members. We all hoped it would happen, and we’re so excited it’s finally here. It’s going to be intimate and full of collaboration and some of the best sets of music in a beautiful private bayfront property. We’ll be deploying our full system and stage deco and erecting our geodesic dome as an art/lounge hangout space. We’re in charge of producing the 2nd of two stages, so it’s an amazing opportunity to bring the full SubSanctuary experience to the people we love the most.
MV: Is there anything that frustrates you about the music industry that you’d like to see change?
SM: My biggest frustrations in the music industry are two-fold. First, I dislike how much capitalism and alcohol sales determine what events/artists/experiences are financially feasible for independent collectives like ours and many others. We have a hard time sacrificing our values for spaces that just want our money to hold a special event, so it’s a constant hunt for spaces that aren’t so dependent on capital from alcohol sales to survive. The landscape is inevitably changing as people become more conscious consumers, and it’s a challenge to get old-school venue owners to understand this and be fair with their pricing.
SM: My second frustration is with how unwilling most venues are to support harm-reduction and allow us to continue the work of de-stigmatizing substance use. Alcohol is one of the most harmful substances we consume, yet it’s widely unregulated, while most other substances remain under tight legal lock and key. There is more and more legal grey area for venues in [most states] to cooperate with independent harm reduction agencies, yet it’s a major challenge to get them to do so, and it continues to put people at higher risks, including the venue owners!
MV: How can we break the cycle?
SM: We all just need to keep playing our part and working diligently and respectfully to chip away at the crumbling walls of the old guard. Nothing happens overnight. Not being afraid to stand for your values and take some time off until a better-aligned opportunity arises, and being radically exclusive when the time comes to draw a line in the sand, whether it be in regards to dangerous venue owners, manipulative actors, abusers, etc. Learning the law, supporting community mutual aid, and protecting our rights as humans and creatives will inevitably help us all co-exist in safer and more fun ways. That’s the goal, right?
MV: What legacy do you hope to leave in the music and sound system culture?
SM: A big question for a relatively small crew in the world, but it all boils down to the individual and how we can assist in helping someone else make sense of this life through art and music, and movement. Whether people remember “SubSanctuary” in 20 years or not is irrelevant to us. We simply hope to provide an inclusive space for people to experience the deepest healing powers of music and community. Helping people feel less alone and more accepted in an increasingly polarized world.
MV: Anything else you’d like to share with our audiences?
SM: Just want to say, on behalf of SubSanctuary and everyone involved, that it’s been an honor to reflect and express ourselves in this space and the larger music scene in general. We wouldn’t be who we are as a collective and as individuals without the countless incredible, dedicated, and intelligent people who exist alongside us. Keep persisting, keep resisting, and keep supporting the good people in your lives. We look forward to doing the same.
Grab tickets to Kicksville here and keep up with everything SubSanctuary has going on in the links below!
There are two types of people in the world. People who appreciate sound systems and people who don’t.
More often than not, fans who attend shows and festivals on a casual basis won’t care if they’re listening to a premier sound system. They just want to make sure their molly is tested and their totem is tall enough for their friends to find them in the pit.
Then you have the audiophiles. The fans and industry professionals who know off the top of their head which sound systems are worth their weight and which ones are all hype. The ones who sit in the back of the club, shitting on the frequency response and phase distortion of your local garbage blaster.
While there are plenty of snobs on this side of the extreme, there are also a select few pure-hearted curators trying to make an honest impact within the chaos that is sound system culture. One particular crew that fits this profile is SubSanctuary coming out of Pittsburgh, Pennsylvania.
Founded in 2014, Shane Martin has been on a mission to create “system-centric shows” for audiences far and wide. From Secret Dreams’ renegades to curated events, Shane and his team have paved out a rich history for themselves.
Recently, we had a conversation with Martin regarding the legacy he’s created and how he hopes SubSanctuary gets remembered in history.
Max Vanegas: Where does the SubSanctuary story begin?
Shane Martin: SubSanctuary and its origins began out of a strong desire to hear the music we love in a safe space that allowed us to express ourselves freely. Eventually, a lack of high-fidelity sound systems in our local venues inspired us to up the ante and demand better quality for our artists and community. That looked like renting a hand-built Paraflex rig at first (shoutout to Manifest Sound System) and eventually purchasing our own so as never to have to compromise the sound quality at our events again.
MV: Who are the key members of your collective, and what roles do they play?
SM: I am the founder of the SubSanctuary freak party and wear multiple hats, including artist, curator, creative director, owner, operator, agent, and hospitality liaison. We have Jason Winkleman, co-founding father of the funk sanctuary, master DJ, audio nerd, speaker-mover, art rigger, hospitality assistant, and overall sweetheart. Finally, we have Brian Jones, a second-stage founding father, co-owner, Funktion-daddy, stage-manager, producer, educator, top-tier DJ, and A-1 audio lead
MV: How much did Pittsburgh shape your collective?
SM: Pittsburgh is where it all began for SubSanctuary, and to many people’s surprise, we have always had a thriving [globally-recognized] underground scene here that helped inform our audio palette and build upon the community that already existed. A handful of promoters who brought high-caliber, diverse artists to intimate spaces gave us a strong foundation in dance music, but there was always a lack in sound quality. I remember telling myself one night after experiencing a great DJ play on a lackluster in-house club system that this was it. There was no more waiting for others to do it, and we needed to focus on sound quality before we threw more events. So we sought out the one person with a hand-built rig in the city and prioritized using their system for our next series of outdoor parties, and then it all took off from there. Shout-out to Andre Shrock of Manifest Sound System.
MV: But now you’re working with a Funktion-One rig, right? What makes that system unique?
SM: Well, to start, our Funktion tops are #107 and #109 right off the assembly line, so they’re beautiful, well-maintained original Res2’s with only 1 previous owner. For those that aren’t familiar with Funktion-One tops, they have 3 different-sized drivers and excel in the mid-range where a lot of speaker manufacturers do not. Rather than having to overcompensate with sub volume, we’re able to hit the full range of frequencies between subs and tops without unwanted distortion and without omitting any crucial frequencies. Much of the “uniqueness” of our system lies in how we operate it; where our crossovers and limiters are set, how we are actively listening and tuning our system to the crowd, the room, and the type of music being played.
MV: How important is audio fidelity quality and sound system culture in what you do?
SM: It’s essential. We only host “system-centric” events these days. If the sound system and the music being expressed through it can’t be represented in its fullest capacity, then the event doesn’t happen. We take the “why do it” approach over the “why not.” It’s about respecting the craft of making and sharing deep-reaching, emotive music. If we can’t operate to our highest capacity, then it’s not worth doing. If the artists don’t deserve that then our listeners don’t deserve that, and neither do we.
MV: What’s the philosophy or mission behind your collective?
SM: To remind ourselves and our people of the power in community. The power of music and movement, and the numerous ways the party can spark and create tangible positive change in our world. “The job of the artist is to make the revolution irresistible.” What better way to do so than with some sexy sounding and looking speakers with freaky good music oozing out of them?
MV: Can you provide some details surrounding the urban clean-up events that you’re participating in?
SM: Many of our community members are involved in direct action and we’re always looking for places where the party can intersect with community empowerment. We’ve hosted art raffles for places of the world in crisis, brought supplies directly to Asheville, NC, when the recent floods hit. We sent money to the Palestinian Red Crescent for the paramount work they’re doing daily in Gaza, and we have plans to host some serious outdoor clean-up gatherings this spring/summer/fall in Pittsburgh.
MV: What’s the hardest part about running a collective like yours?
SM: I would say the toughest part is making it all sustainable in the safest and smartest way possible. Navigating the underground entertainment world can be treacherous and risky, and making sure our artists, patrons, and community get treated/compensated properly is always a challenge. Standing up for our people and demanding fair business relationships can be challenging but important work. Making sure you have the right people in place for each arm of the collective is another challenge, but we’ve been blessed to have good people involved from the beginning.
SM: Personally I like to maintain a close eye on all things creative and collaborative so I’m leaving less up to chance when it comes to the final product or event. Trusting the shared vision of many different people can pose a threat to the overall outcome of the experience so keeping things within reach and under a small umbrella of decision-makers has helped us mitigate larger challenges many other collectives might face.
MV: What has been your most memorable gig or event so far?
SM: Our 12-hour outdoor “system shootout” featuring 3 different local sound systems positioned around a geodome with round robin sets was a huge hit, as well as our inaugural sunset cruise boat party on the legendary Gateway Clipper. Having Epoch play on a 4-point Funktion setup and Glume and Phossa blessing us on our 10-year anniversary event were some nights that certainly stand out as well, not to mention our 3 consecutive years running a late-night renegade stage at Secret Dreams Festival.
MV: Sounds like you are about to embark on another significant milestone with Kicksville coming up. Can you tell me a little bit more about your involvement with that event?
SM: Kicksville is one we’ve been looking forward to for years, honestly. It’s the first 1000-cap festival produced by our longtime friends and Papadosio family members. We all hoped it would happen, and we’re so excited it’s finally here. It’s going to be intimate and full of collaboration and some of the best sets of music in a beautiful private bayfront property. We’ll be deploying our full system and stage deco and erecting our geodesic dome as an art/lounge hangout space. We’re in charge of producing the 2nd of two stages, so it’s an amazing opportunity to bring the full SubSanctuary experience to the people we love the most.
MV: Is there anything that frustrates you about the music industry that you’d like to see change?
SM: My biggest frustrations in the music industry are two-fold. First, I dislike how much capitalism and alcohol sales determine what events/artists/experiences are financially feasible for independent collectives like ours and many others. We have a hard time sacrificing our values for spaces that just want our money to hold a special event, so it’s a constant hunt for spaces that aren’t so dependent on capital from alcohol sales to survive. The landscape is inevitably changing as people become more conscious consumers, and it’s a challenge to get old-school venue owners to understand this and be fair with their pricing.
SM: My second frustration is with how unwilling most venues are to support harm-reduction and allow us to continue the work of de-stigmatizing substance use. Alcohol is one of the most harmful substances we consume, yet it’s widely unregulated, while most other substances remain under tight legal lock and key. There is more and more legal grey area for venues in [most states] to cooperate with independent harm reduction agencies, yet it’s a major challenge to get them to do so, and it continues to put people at higher risks, including the venue owners!
MV: How can we break the cycle?
SM: We all just need to keep playing our part and working diligently and respectfully to chip away at the crumbling walls of the old guard. Nothing happens overnight. Not being afraid to stand for your values and take some time off until a better-aligned opportunity arises, and being radically exclusive when the time comes to draw a line in the sand, whether it be in regards to dangerous venue owners, manipulative actors, abusers, etc. Learning the law, supporting community mutual aid, and protecting our rights as humans and creatives will inevitably help us all co-exist in safer and more fun ways. That’s the goal, right?
MV: What legacy do you hope to leave in the music and sound system culture?
SM: A big question for a relatively small crew in the world, but it all boils down to the individual and how we can assist in helping someone else make sense of this life through art and music, and movement. Whether people remember “SubSanctuary” in 20 years or not is irrelevant to us. We simply hope to provide an inclusive space for people to experience the deepest healing powers of music and community. Helping people feel less alone and more accepted in an increasingly polarized world.
MV: Anything else you’d like to share with our audiences?
SM: Just want to say, on behalf of SubSanctuary and everyone involved, that it’s been an honor to reflect and express ourselves in this space and the larger music scene in general. We wouldn’t be who we are as a collective and as individuals without the countless incredible, dedicated, and intelligent people who exist alongside us. Keep persisting, keep resisting, and keep supporting the good people in your lives. We look forward to doing the same.
Grab tickets to Kicksville here and keep up with everything SubSanctuary has going on in the links below!
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