dub music

Dub is a musical style that grew out of reggae in the late 1960s and early 1970s. It is commonly considered a subgenre of reggae, though it has developed to extend beyond that style. Generally, dub consists of remixes of existing recordings created by significantly manipulating the original, usually through the removal of vocal parts, emphasis of the rhythm section (the stripped-down drum-and-bass track is sometimes referred to as a riddim), the application of studio effects such as delay and reverb, and the occasional dubbing of vocal or instrumental snippets from the original version or other works. Dub was pioneered by recording engineers and producers such as Osbourne "King Tubby" Ruddock, Hopeton "Scientist" Brown, Lee "Scratch" Perry, Errol Thompson and others beginning in the late 1960s. 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. Similar experiments with recordings at the mixing desk outside the dancehall scene were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. The Roland Space Echo was widely used by dub producers in the 1970s to produce echo and delay effects.¶

Name

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. 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. 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. Initially, these acetates would simply be the standard recording of a song that was yet to be released on a single; around 1968–69, however, they started to be exclusive mixes with some or all of the vocal mixed out. Producer Bunny Lee notes:¶

Yeah... it was really VERSION those days – it wasn't dub yet beca' it was jus' the riddim. 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. 'Im say, alright, run it again, and put in the voice. 'Im didn't do no more like that yet.¶

After 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:¶

The next day now, 'im start it and just bring in the riddim. Or...¶

Characteristics

According to David Toop, "Dub music is like a long echo delay, looping through time...turning the rational order of musical sequences into an ocean of sensation." Dub music is characterized by a "version" or "double" of an existing song, often instrumental, initially almost always pressed on the B-sides of Jamaican 45-rpm records and typically emphasizing the drums and bass for a sound popular in local sound systems. A "version" is an alternative cut of a song made for the DJ to "toast" over (a form of Jamaican rapping), usually with some or all of the original vocal removed. These "versions" were used as the basis of new songs by rerecording them with new elements. The instrumental tracks are typically treated with sound effects such as echo, reverb, with instruments and vocals dropping in and out of the mix. The partial or total removal of vocals and other instruments tends to emphasise the bass guitar. The music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be further augmented by live DJs. The many-layered sounds with varying echoes and volumes are often said to create soundscapes, or sound sculptures, drawing attention to the shape and depth of the space between sounds as well as to the sounds themselves. There is usually a distinctly organic feel to the music, even though the effects are electronically created. Often these tracks are used for "toasters" rapping heavily rhymed and alliterative lyrics. These are called "DJ Versions".¶

History

Dub music and toasting introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other. The development of sound system culture influenced the development of studio techniques in Jamaica, and the earliest DJs, including Duke Reid and Prince Buster among others, were toasting over instrumental versions of reggae and developing instrumental reggae music.¶

"Versions" and experiments with studio mixing (late 1960s)

In 1968, Kingston, Jamaica, sound system operator Rudolph "Ruddy" Redwood went to Duke Reid's Treasure Isle studio to cut a one-off dub plate of the Paragons hit "On the Beach". Engineer Byron Smith left the vocal track out by accident, but Redwood kept the result. At his next dance, Redwood played the instrumental version with his deejay Wassy toasting over the rhythm. He also played the original vocal and instrumental versions back to back, with the audience singing the lyrics of the original recording over the instrumental. The instrumental proved so popular that Redwood reportedly played it continuously for half an hour to an hour that night. The next day, Bunny Lee, who had witnessed the dance, told King Tubby that they needed to make more instrumental tracks, as "them people love" them, and they removed the vocals from "Ain't Too Proud To Beg" by Slim Smith. Because of King Tubby's innovative approach, the resulting instrumental track was more than just a track without a voice – King Tubby interchanged the vocals and the instrumental, playing the vocals first, then playing the riddim, then mixing them together. From this point on, they started to call such tracks "versions". Another source puts 1967 and not 1968 as the initial year of the practice of putting instrumental versions of reggae tracks to the B-side of records. At Studio One the initial motivation to experiment with instrumental tracks and studio mixing was correcting the riddim until it had a "feel," so a singer, for instance, could comfortably sing over it. Another reason to experiment with mixing was rivalry among sound systems.¶

Evolution of dub as a subgenre (1970s)

By 1973, through the efforts of several independent and competitive innovators, engineers, and producers, instrumental reggae "versions" from various studios had evolved into "dub" a…¶

The text above is adapted from the Wikipedia article “Dub music”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

dub music is music genre originating from Jamaica, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 19 external registers, which can be verified through the citation.¹¶