Dub is a music genre that grew out of reggae in the 1960s, and is generally regarded as a subgenre, although it has grown beyond the range of reggae. The music in this genre consists mostly of instrumental remixes of existing recordings and is accomplished by manipulating and recasting the recording significantly, usually by removing vocals from the existing piece of music, and emphasizing the drum and bass parts (these stripped tracks are sometimes called as a riddim). Other techniques include dynamically adding extensive echoes, reverbs, panoramic delays, and occasionally voiceover from vocal or instrumental clips of the original version or other works. It was the earliest form of popular electronic music. The Roland Space Echo was widely used by nicknamed manufacturers in 1970 to produce echo and delay effects.
Dub was pioneered by Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson, and others in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and also among the pioneers and creators of the genre. Similar experiments with recording at the mixing table outside the dance environment were also done by producers Clive Chin and Herman Chin Loy. These producers, notably Ruddock and Perry, view the mixing console as an instrument, manipulating the track to produce something new and different. Dub has influenced many musical genres, including rock (most significantly subgenre of post-punk and other punk types), pop, hip hop, disco, and then home, techno, ambient, electronic dance music, and travel hops. Dub has become the basis for the jungle genre and drums and bass. Traditional dubs have survived, and some of the founders, such as Lee "Scratch" Perry and Mad Professor, continue to produce new material.
Video Dub music
Name
The verb dub is defined as making a copy of one recording to another. The process of using previously recorded material, modifying the material, and then recording it to a new master mix, which is in duplication or "dubbing" material, is used by Jamaican manufacturers when creating dubs. The term dub has many meanings in Jamaica around the time of origin of music. The most commonly referred meaning is either the form of erotic dance or sexual intercourse; Such uses often appear in the names of reggae songs, for example, The Silvertones' "Dub the Pum Pum" (where pum pum is Jamaican slang for female genitals), Big Joe and Fay's " Dub a Dawta "( dawta is a Jamaican slang for girlfriend ). I-Roy's "Sister Maggie Breast" features several references to sex:
I am a- dub on the
side
Let's say your sister can run but you can not hide
Your slip should slide You should open your crotch width Peace and love live
Some musicians, such as Bob Marley and The Wailers, have an alternative meaning for the term dub . In concert, this " dub order!" means "emphasis on bass and drums". Sly Dunbar's drummer points to the same interpretation, related to the terms dubwise for using only drums and bass. Another possible source is the term anal plate , as suggested by Augustus Pablo. John Corbett suggested that dub be derived from duppy , the Jamaican word for ghost , as referred to by Burning Spear after mentioning the dub version of Marcus Garvey his album Ghost Garvey , and by Lee "Scratch" Perry stating that dub is "the ghost in me that goes out".
The word "duppy" also relates to the "dub" through the historically ignored histories of intra-racial terror, violence and murder for the Jamaican ideology of racial solidarity. The ghosts of these victims, or "duppies," are considered best captured in instrumentalists. To describe the words in his study "When Echoes Return", Louis Chude-Sokei states, "The swirling echo is a metaphor of loss while the bodyless voice and gunfire imitate the sound of ghosts, dead people suddenly."
Maps Dub music
Characteristics
Dub music is marked with "versions" or "doubles" of existing songs, often instrumental, using B-sides of 45 RPM recordings and usually emphasizes drums and bass for popular sounds in the local sound system. "Version" is a recording with vocals removed, an alternative piece of a song made for a DJ to toast. This "version" is used as the basis for new songs by re-recording them with new elements. The instrumental tracks are usually soaking wet with sound effects such as echoes, echoes, with instruments and vowels that fall and come out of the mix. Another feature of dub noise is the use of a prominent bass guitar. Music sometimes features other sounds, such as bird song, thunder and lightning, running water, and producers shouting instructions to musicians. This can be added by a live DJ. The many-layered sounds with various echoes and volumes are often said to create sound sounds, or sound carvings, that draw attention to the shape and depth of space between the sound and the sound itself. There is usually a distinctive organic nuance to music, although the effect is made electronically.
Often these songs are used for "toasters" that sing rhythmic and alliterative lyrics. This is called "DJ Version". In the form of reggae-based sound system, players using microphones are referred to as "DJ" or "deejay" (where in other genres, this player may be called "MC", meaning "Master of Ceremony", or alternating term slang which is then developed : "Microphone Commander" or "Mic Control"), and people who choose music and operate turntables are called "selectors" (sometimes referred to as DJs in other genres).
The main reason for generating multiple versions is the economy; the record producer can use the recording he has to produce multiple versions of a studio session. Versions are also an opportunity for producers or remix engineers to experiment and express their creative side. The usual version is the B-side of one, and is used to experiment and provide something for DJs to talk to, while the A-side is more often dedicated to genuine oriented vocal tracks. In the 1970s, LP albums of dub songs were produced, often just the dubbed versions of the existing vocal LP, but sometimes the original instrumental track choices were produced in a no-vocal dub style.
History
Dub music and roasting introduce a new era of creativity in reggae music. From their inception, baking and dubbing music developed together and influenced each other. The development of a culture of sound systems influenced the development of studio techniques in Jamaica, and the earliest DJs, including Duke Reid and Prince Buster, among others, baked more than the instrumental version of reggae and developed reggae instrumental music.
"Version" and experiment with mixing studio (Late 1960s)
In 1968, Kingston, Jamaican voice system operator Rudolph "Ruddy" Redwood went to Duke Reid's Treasure Isle studio to cut the one-off dubbing plate of The Paragons hit "On The Beach." Engineer Byron Smith abandoned the vocal track by accident, but Redwood kept the result and played it at the next ball with his deanyay, Wassy, ​​roasting over the beat. The instrumental notes excite the people in the sound system and they start singing the vocal lyrics on top of the instrumental. The discovery was a success, and Ruddy needed to play a continuous instrumental for half an hour to an hour on that day. The next day, Bunny Lee who witnessed for this, told King Tubby that they needed to make some more instrumental songs, because "they loved" them, and they dubbed the vocals of "Not Too Proud To Ask" by Slim Smith. Due to the innovative approach of King Tubby, the resulting instrumental tracks are more than just a noiseless song - King Tubby exchanges vocals and instrumental, plays vocals first, then plays riddim, then mixes them together. From this point on, they start calling "versions" of such tracks. Another source puts 1967 and not 1968 as the initial year of practice of placing the instrumental version of the reggae tracks to the B-side of the record.
At Studio One, the initial motivation for experimenting with instrumental tracks and studio mixing is to correct riddim until it becomes a "feel," so a singer, for example, can comfortably sing on it.
Another reason to experiment with mixing is the competition between the sound systems. People sound system sounds want the songs they play in the dance to be a little different every time, so they will order many copies of the same recordings from a studio, each with a different mix.
Evolution of rank as subgenre (1970s)
In 1973, through the efforts of several innovators, engineers and independent and competitive producers, the instrumental "instrumental" versions of various studios have evolved into "dub" as reggae subgenres.
Errol Thompson engineered the very first instrumental reggae album, titled The Undertaker by Derrick Harriott and Crystallites. The album was released in 1970. This innovative album credit "Sound Effects" to Derrick Harriott.
In 1973, at least three producers, Lee "Scratch" Perry and studio technician/team producer Aquarius Herman Chin Loy and Errol Thompson concurrently acknowledged that there was an active market for this new "dub" sound and consequently they began releasing a tight first album consists of a dub. Lee "Scratch" Perry released Blackboard Jungle Dub in the spring of 1973. This is considered a recording of the landmarks of this genre.
In 1974, Keith Hudson released his classic Pick a Dub, widely regarded as the first deliberate thematic dubbed album, with songs typically mixed in dub styles for the purpose of performing together on LP, and King Tubby released two debut albums In Grass Roots of Dub and Surrounded by Dreads at National Arena .
Recent history (Early 1980-present)
Dub continues to evolve, his popularity drifts and fades with changes in musical mode. Almost all reggae singles still carry an instrumental version on the B-side and this is still used by the sound system as an empty canvas for live singers and DJs.
In 1981, the Japanese band, Mute Beat, will create dub music using live instruments such as trumpets rather than studio equipment, and become a precursor to acid jazz, ambient and hop hop music. They collaborated with many Jamaican artists such as King Tubby, Lee "Scratch" Perry and Gladstone Anderson amongst others and became a major influence on future ambassador musicians.
In the 1980s, England became a new center for the production of Asakusa with Mikey Dread, the most famous Professor Mad and Jah Shaka. It was also the time when the dub made its influence known in the work of thinner experimental producers, such as Mikey Dread with UB40 and The Clash, Adrian Sherwood and the list of artists on his On-U Sound label. Many bands that are characterized as post-punk are greatly influenced by the dub. The more famous bands such as The Police, The Clash and UB40 helped popularize Dub, with Dub40 Gymnastics Presence album from UB40 becoming the first album to reach the top 40 in the UK.
Adjacent to current reggae (early 1980s) running a mixed B side ambassador, an increasing number of American post-disco record producers (mostly New York and New Jersey) in collaboration with leading DJs decided to supply 12-inch singles with an alternative dub mix , precedes the era of "remix." Reflected in recording productions such as The Peech Boys' "Do not Make Me Wait," "Reach Up" Toney Lee, and most artists on the New York City Prelude or West End label. In the aforementioned mix, taped note beats, unnecessary "vocal parts" dropped, and other DJ friendly features that make it easy to use, such as selecting key parts to play on other recordings, enhancing the dancefloor effect.
Music impact
Effect rank
From the 1980s onward, the dub has been influenced by, and in turn influences, techno, dubtronica/dub techno, jungle, drums and bass, dubstep, house music, punk and post-punk, hop journeys, ambient music, and hip hop, with many songs of electronic rank or dubtronica, as well as anal dubus, produced by non-traditional rastafarian musicians of this other genre. Musicians such as Culture Club, Bill Laswell, Blind Idiot God, Jah Wobble, Leftfield, Massive Attack, Almamegretta, The Clash, Gaudi, Beastie Boys, Bauhaus and others show clear lucid influence in their respective genres, turn influenced mainstream genre nickname. In the UK, Europe, Japan, Australia and America, independent record producers continue to produce rank. Before forming The Mars Volta, Cedric Bixler and Omar Rodriguez (members of the hardcore At The Drive In group), along with friends of Ikey Owens and Jeremy Ward, recorded a series of albums of de Footrende under the name De Facto. Polish punk/psychedelic bands and new wave of Brygada Kryzys and Republika record dub songs. Yugoslavia clothing new wave of Elektri? Ni Orgazam also experimented with dub music on their album Li ?? e prekriva Lisabon from 1982, then bands like Azra, on Filigranski plo album? Nici who was created also in 1982 and? Arlo Akrobata. Other players in Dubai include the Serbian dub band Black Ark Crew, Basque dub band Basque Dub Foundation, and Australian live dub outfit The Sunshine Brothers. In 1987, rock band Soundgarden released a dub version of the Ohio Player's song "Fopp" alongside a more traditional rock cover of the song. DJs appeared towards the end of the 1990s specializing in playing music by these musicians, such as Unity Dub in the UK.
Influence of dub on punk and rock music
Since its inception in the late 1960s, its history has been intertwined with the story of punk rock in England. The Clash works on collaborations involving Jamaican reggae creators such as Lee "Scratch" Perry (the "Police & Thief", co-written with Junior Murvin, covered by Clash on their first album) and Mikey Dread (on the Sandinista album). In addition, the British Ruts DC group, post incarnation Malcolm Owen of the legendary reggae influenced by the punk group The Ruts, released Rhythm Collision Dub Volume 1 (Roir sessions), with the expertise of Professor Gila. Many punk rock bands In the US are exposed to dub through the punk band Bad Brains of D.C., which was founded and released their most influential material during the 80s. Blind Idiot God placed dub music next to their faster and more intense rock sound track. Dub was adopted by several punk rock groups of the 90s, with bands like Rancid and NOFX writing original songs in dub style. Often, bands considered to play ska punk play dubl-influenced songs; one of the first bands that became popular was Sublime, whose album featured original nicknames and remixes. They went on to influence newer American bands such as Rx Bandit and The Long Beach Dub Allstars. In addition, the dub is influenced by several pop types, including bands like No Doubt. No Doubt's newest album, Rock Steady [1], features a variety of popular sounds such as reverb and echoing. As noted by the band itself, No Doubt is heavily influenced by the aesthetics of Jamaican music and production techniques, even recording their Rock Steady albums in Kingston, Jamaica, and producing B-sides featuring the influence of the dub in the album Everything in Time B-sides them. Some controversy still exists in whether pop-ska bands like No Doubt can consider themselves as part of a dub lineage. Other bands follow No Doubt's lead, combining pop-ska and dub influences, such as Save Ferris and Vincent.
There are also some British punk bands that create dub music. Capdown released their album Civil Disobedients, featuring the song "Dub No 1", while Sonic Boom Six and The King Blues took great influence from the dub, mixing genres with original ethics and punk attitudes. The post-punk band Public Image Ltd, fronted by John Lydon, formerly of the Sex Pistols, often uses dubbing and reggae affecting the bass lines in their music, especially in their previous music through various group bassists, such as Jah Wobble and Jonas Hellborg. Their song "Rise", which reached # 11 on the UK Chart in 1986 - one of their most famous songs - uses a very famous bass line/reggae.
Shoegaze bands like Ride with their song "King Bullshit" and intro to "Time Machine" have explored and experimented with dub. Slowdive also wrote "Souvlaki Space Station" and their instrumental "Moussaka Chaos" as a testimony to the influence of the dub, while Kitchens of Distinction released "Anvil Dub".
Steve Hogarth, singer with British rock band Marillion, acknowledged the effect of the dub on their 2001 album Anoraknophobia .
21st century rank in the root tradition
The traditional dub has survived and some of the earners of dubbing like Lee "Scratch" Perry and Mad Professor continue to produce new material. New artists continue to maintain traditional dub sounds, some with slight modifications but with a primary focus on reproducing the original characteristics of sound in the environment. Some of them include Dubblestandart from Vienna, Austria (who recorded the album "Return from Planet Dub" in collaboration with, and performed live with, Lee Scratch Perry), Liquid Stranger from Sweden, New York City artists including Ticklah, also known as Victor Axelrod , Victor Rice, All Star Easy, Dub Trio (who has recorded and performed live with Mike Patton, and currently toured as a supporting band for Matisyahu), Subatomic Sound System (which has meremix material by Lee Scratch Perry and Ari Up), Dub is a Weapon, King Django, Dr. Israel, Giant Panda Guerilla Dub Squad of Rochester, New York, Heavyweight Dub Champ of San Francisco and Colorado, Gaudi, Ott from England who has released several influential albums through Twisted Records, Boom One Sound System and Dubsmith from Boom One Records, Future Pigeon from Los Angeles, German artists such as Disrupt and Rootah from the Jahtari label, Twilight Circus of the Netherlands, Moonlight Dub Experiment from Costa Rica and Patrol High from France. The use of more techniques of dubbling is seen in BudNubac's work, which mixes Cuban big bands with voiceover techniques. Modern nickname producer Ryan Moore has received critical acclaim for his Twilight Circus project.
Afrofuturism
Dub music is talking to the aesthetic of Afrofuturism culture. Having emerged from Jamaica, the genre is considered a product of the diaspora community, whose culture reflects the experience of dislocation, alienation and dhikr. Through the creation of filling-space soundscapes, faded echoes, and repetitions in music tracks, Dub artists can utilize Afrofuturist concepts such as non-linearity of time and sound projection of the past into unknown future spaces. In the 1982 essay, Luke Ehrlich describes Dub through this particular scope: "With the dub, Jamaican music unfolds completely.If reggae is Africa in the New World, then the dub must be Africa on the moon, that is the psychedelic music I expect to hear. 60s and not.Bass and drums bring out dark spaces, expansive, portraits of space music, with sounds hanging like glowing planets or splinters of attention-grabbing instruments, leaving a trail like a comet and a meteor is a music montage a sounding kaleidoscope originally intended as interconnected parts of another arrangement and using it as a raw material, converting it into new and different sounds, then, with its own rhythm and format, it constantly changes the new sounds this becomes an unusual juxtaposition. "
Jamaican Sound System
The simplest explanation of the Jamaican sound system is the individual who deals with mechanical systems consisting of musical amplification and diffusion. This includes turntables, speakers, and PA systems. In this system the broadcaster is the one who speaks on the record. This is not to be confused with the American DJ term, which refers to the person in charge of selecting a track on the show with music. This role is known as a voter in the dub culture of sound systems, which also play an important role in the system, especially in Jamaica dance buildings.
While most people think of reggae music as being most associated with Jamaica, the sound system has had a public place in music production in Jamaica for over 50 years. The importance of true and the relationship between the sound system and the music of the dub can be found in the dubbed sound version of Dub's music source. It is dubbed out of a song version consisting of an original song, without vocals. Through reggae soundscape and the Jamaican Sound System, artisans of Asakusa can creatively manipulate versions dubbed or remixed songs. This dub remix is ​​strongly influenced by effects, vocal samples, and is essential for dub development. Remix, often referred to as a B-side version of a particular note. The rectal musicians will add dramatic pauses and breakage in the version to make the song have the influence and feel of the dub. The artists who use the sound system to make ebony songs will refer to the remixing of certain recording versions. In sound system settings, the version allows improvisation and vocal expression of DJB. This remix or version will not be possible without the Jamaican voice system and its development over the years.
At the heart of reggae and Jamaican culture lies the sound system. In the early 1950s, the sound system was nothing more than a turntable, an amplifier, and a pair of speakers. Since then in the 21st century they have become a massive production to include large-scale equipment and crew and now have the capacity to tour the world.
The Jamaican sound system combined with the evolution of dub music has caused new cultures to emerge and change throughout Jamaica. When Jamaica gained independence from Britain in 1962, the culture was in danger and the country was in a state of identity crisis. Along with its independence from England, Jamaica began to experience a lack of individuality and originality in its music, and this threatened to send Jamaica into further cultural chaos. The Jamaican sound system and dub music allow Jamaica to have another musical genre that they can claim as their own.
See also
- List of dub artists
- List of electronic music genres
References
Further reading
- Du Noyer, Paul (2003). "Dub". The Billboard Illustrated Encyclopedia of Music . New York City: Billboard Books. pp.Ã, 356-357. ISBNÃ, 0-8230-7869-8.
- Veal, Michael E. (2007). Dub: Songscapes and Shattered Songs in Jamaican Reggae . Middletown: Wesleyan University Press.
- Cox and Warner, ed. Audio Culture: Reading in Modern Music . Continuum: 2004. [3] "Replicant: On Dub" by David Toop; Chapter 51, Pages 355-356.
External links
- Dub Echoes Documentary on the influence of dubs in today's dance and hip hop dance
- Melting Pot Dub A brief history of dub
- Articles on Footnoted Eyed Articles
- Dub.com Links to labels, websites, and resources
- Allmusic articles about dub history
- Versiis.net # 1 World Power Sound Collective of Underground Reggae.
- When Dancehall is Good - In the 80s Dancehall Reggae Reggae Recall
Source of the article : Wikipedia
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