![]() ![]() ![]() This progressed from the late 1950s onwards via having local musicians record a song exclusively for play on a particular sound system to having exclusive mixes of a song on acetate, which became possible with the arrival of multi-track recording in Jamaica. Jamaican soundsystems had always sought exclusive recordings from their origins in the late 1940s but through most of the 1950s, when they played American rhythm & blues records, these were simply records that rival sound system operators didn't have and couldn't identify. Ruddy use to handle that part himself, drop in the voice and drop it out. ![]() Or.down in the tune, bring a little voice and drop it out again.yes. "The next day now, 'im start it and just bring in the riddim. 'Im didn't do no more like that yet."Īfter describing how Redwood then had his deejay first play the vocal version and then the instrumental version at a dance, and how popular this novelty was, Lee continued, 'Im say, alright, run it again, and put in the voice. One day an incident: Ruddy's (sound system operator Ruddy Redwood) was cutting dub, an when it start, Smithy (recording engineer Byron Smith) look like 'im start bring on the voice and Ruddy's say: no, mek it run and 'im take the whole backing track off it. " was really VERSION those days - it wasn't dub yet beca' it was jus' the riddim. Initially these acetates would simply be the standard recording of a song that wasn't yet released on a single, but around 1968-69 they started to be exclusive mixes with some or all of the vocal mixed out, as described by producer Bunny Lee: It was in this sense that the term was first used in the Jamaican recording industry: new recordings were often initially copied onto one-off acetate discs, known colloquially as soft wax or dub and later as dubplates, for exclusive use by sound system operators playing a song as an exclusive recording on a sound system was a good way for a producer to test the potential popularity of a recording before committing to the pressing of hundreds or thousands of copies of singles for retail sale. Over the next 40 years or so the term found its way into audio recording in general, often in the context of making a copy of a recording on another tape or disc. The use of the word dub in a recording context originated in the late 1920s with the advent of "talking pictures" and referred to adding a soundtrack to a film it is an informal abbreviation of the word double. Traditional dub has survived, and some of the originators such as Mad Professor continue to produce new material. Dub was a basis for the genres of jungle and drum and bass, as well as a major influence on dubstep, with its orientation around bass and utilization of audio effects. ĭub has influenced many genres of music, including rock, most significantly the subgenre of post-punk and other kinds of punk, pop, hip hop, post-disco, and later house, techno, ambient, electronic dance music, and trip hop. The Roland Space Echo was widely used by dub producers in the 1970s to produce echo and delay effects. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Similar experiments with recordings at the mixing desk outside the dancehall scene were also done by producers Clive Chin and Herman Chin Loy. Augustus Pablo, who collaborated with many of these producers, is credited with bringing the distinct-sounding melodica to dub, and is also among the pioneers and creators of the genre. ĭub was pioneered by recording engineers and producers such as Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others beginning in the late 1960s. Generally, dub consists of remixes of existing recordings created by significantly manipulating the original, usually through the removal of vocal parts, the application of studio effects such as echo and reverb, emphasis of the rhythm section (the stripped-down drum-and-bass track is sometimes referred to as a riddim), and the occasional dubbing of vocal or instrumental snippets from the original version or other works. It is commonly considered a subgenre of reggae, though it has developed to extend beyond that style. Dub is an electronic musical style that grew out of reggae in the late 1960s and early 1970s. ![]()
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