Editing King Tubby (section)

==Career==
In the late 1950s, Jamaican [[Reggae sound system|sound system]]s were becoming popular in [[Kingston, Jamaica|Kingston]] and were developing into enterprising businesses. A radio repairman, Tubby found frequent work for the sound systems, as the tropical weather of the Caribbean island (often combined with sabotage by rival sound system owners) led to malfunctions and equipment failure.<ref name="Thompson">Thompson, Dave (2002) ''Reggae & Caribbean Music'', Backbeat Books, {{ISBN|0-87930-655-6}}, pp. 138–141</ref> Tubby owned an electrical repair shop on Drumalie Avenue, Kingston, that fixed televisions and radios.<ref name="LarkinGE"/> He built large amplifiers for the local sound systems.<ref name="LarkinGE"/> In 1961–62 he built his own radio transmitter and briefly ran a pirate radio station playing [[ska]] and [[rhythm and blues]] which he soon shut down when he heard that the police were looking for the pirate broadcasters.<ref>"[https://www.bbc.co.uk/1xtra/dancehallafterdark/jammy.shtml King Jammy interview]", [[BBC]], 2005. Retrieved 30 April 2016</ref> Tubby eventually formed his own sound system, Tubby's Hometown Hi-Fi, in 1958.<ref name="Thompson" /><ref name="Bonitto">Bonitto, Brian (2012) "[http://www.jamaicaobserver.com/entertainment/King-Tubby--the-sound-creator_11886528 King Tubby, the sound creator] {{Webarchive|url=https://web.archive.org/web/20210130202731/http://www.jamaicaobserver.com/entertainment/King-Tubby--the-sound-creator_11886528 |date=30 January 2021 }}", ''[[Jamaica Observer]]'', 6 July 2012, retrieved 13 July 2012</ref> It was popular due to the high quality of his equipment, exclusive releases and Tubby's own [[Echo (phenomenon)|echo]] and [[reverb]] sound effects, at that point a [[novelty]] which had not been created outside of a studio setting.<ref name="LarkinGE"/><ref name="Bradley">{{cite book |last1=Bradley |first1=Lloyd |title=Reggae: The Story of Jamaican Music |date=2002 |publisher=BBC Worldwide |location=London, UK |isbn=0563488077 |page=32-33}}</ref> The sound also launched the career of [[U-Roy]], its featured [[Deejay (Jamaican)|toaster]].<ref>{{cite book |last1=Masouri |first1=John |title=Wailing Blues: The Story of Bob Marley's Wailers |date=2009 |publisher=Omnibus Press |isbn=978-0857120359 |url=https://books.google.com/books?id=Rq_7iIvMvYgC&q=u-roy+and+king+tubbys+hometown+hifi&pg=PT200 |access-date=22 June 2020}}</ref>

===Remixes===
Tubby began working as a disc cutter for producer [[Duke Reid]] in 1968.<ref name="Thompson" /> Reid, one of the major figures in early Jamaican music alongside rival [[Coxsone Dodd|Clement "Coxsone" Dodd]], ran [[Treasure Isle]] studios, one of Jamaica's first independent production houses, and was a key producer of [[ska]], [[rocksteady]] and eventually [[reggae]] recordings. Before the advent of dub, most Jamaican 45s featured an instrumental version of the main song on the flipside, which was called the "version". When Tubby was asked to produce versions of songs for sound system MCs or [[Deejay (Jamaican)|toasters]], he initially worked to remove the vocal tracks with the faders on Reid's mixing desk, but soon discovered that the various instrumental tracks could be accentuated, reworked and emphasised through the settings on the mixer and early effects units.<ref name="LarkinGE"/> In time, Tubby began to create wholly new pieces of music by shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like extreme delays, echoes, reverb and phase effects.<ref name="Music"/> Partly due to the popularity of these early [[remix]]es, in 1971, Tubby's soundsystem consolidated its position as one of the most popular in Kingston and Tubby decided to open a studio of his own in Waterhouse in 1971, initially using a [[Multitrack recording|4-track]] mixer purchased from [[Byron Lee]]'s Dynamic studio.<ref name="Thompson" /><ref name="Bonitto" />

===Dub music production===
King Tubby's production work in the 1970s made him one of the best-known celebrities in [[Jamaica]], and generated interest in his production techniques from producers, sound engineers and musicians across the world. Tubby built on his knowledge of electronics to repair, adapt and design his own studio equipment, which made use of a combination of old devices and new technologies to produce a studio capable of the precise, atmospheric sounds which would become Tubby's trademark. With a variety of effects units connected to his mixer, Tubby "played" the mixing desk like an instrument, bringing instruments and vocals in and out of the mix to create an entirely new genre known as dub music.<ref name="Music"/> By the end of 1971 he was already providing dub mixes for producers such as [[Glen Brown]] and [[Lee "Scratch" Perry]].<ref name="Thompson" />

Using existing [[Multitrack recording|multitrack]] master tapes—his small studio in fact had no capacity to record session musicians—Tubby re-taped, or "dubbed", the original after passing it through his 12-channel, custom-built [[MCI (audio)|MCI]] mixing desk, twisting the songs into unexpected configurations which highlighted the heavy rhythms of their bass and drum parts with minute snatches of vocals, horns, piano and organ.<ref name="LarkinGE"/> These techniques mirrored the actions of the sound system selectors (reggae [[disc jockey]]s), who had long used [[Equalization (audio)|EQ]] equipment to emphasise certain aspects of particular records, but Tubby used his custom-built studio to take this technique into new areas, often transforming a hit song to the point where it was almost unrecognisable from the original version. One unique aspect of his remixes or dubs was the result of creative manipulating of the built-in [[high-pass filter]] on the MCI mixer he had bought from Dynamic Studios. The filter was a [[Parametric equalization|parametric EQ]] which was controllable by a large knob—a.k.a. the "big knob"—which allowed Tubby to introduce a dramatic narrowing sweep of any signal, such as the horns, until the sound disappeared into a thin squeal.<ref>{{cite journal |last1=Yoganathan |first1=Nimalan |last2=Chapman |first2=Owen |title=Sounding Riddims: King Tubby's dub in the context of soundscape composition |journal=[[Organised Sound]] |date=April 2018 |volume=23 |issue=1 |pages=91–100 |doi=10.1017/S1355771817000310 |id={{ProQuest|2013630290}}}}</ref>

Tubby engineered/remixed songs for Jamaica's top producers such as Lee Perry, [[Bunny Lee]], [[Augustus Pablo]] and [[Vivian Jackson]], that featured artists such as [[Johnny Clarke]], [[Cornell Campbell]], [[Linval Thompson]], [[Horace Andy]], [[Big Joe (reggae)|Big Joe]], [[Delroy Wilson]] and [[Jah Stitch]].<ref name="Thompson" /><ref name="Bonitto" /> In 1973, he added a second 4-track mixer, and built a vocal booth at his studio so he could record vocal tracks onto the instrumental tapes brought to him by various producers.<ref name="Thompson" /> This process is known as "voicing" in Jamaican recording parlance. It is unlikely that a complete discography of Tubby's production work could be created based on the number of labels, artists and producers with whom he worked, and also subsequent repressings of these releases sometimes contained contradictory information.  His name is credited on hundreds of [[B-side]] labels, with the possibility that many others were by his hand yet uncredited, due to similarities with his known work. Several albums of Tubby's dub mixes were released, among the earliest the Perry-produced ''Blackboard Jungle'' and Bunny Lee's ''Dub from the Roots'' (both 1974).<ref name="Thompson" />

His most famous dub and one of the most popular dubs of all time was "[[King Tubby Meets Rockers Uptown (song)|King Tubby Meets Rockers Uptown]]" from 1974.<ref>{{Cite news |date=21 November 2007 |title=1000 albums to hear before you die: Artists beginning with P |url=https://www.theguardian.com/music/2007/nov/21/1000tohearbeforeyoudie.pulp |work=[[The Guardian]]}}</ref> The original session was for a [[Jacob Miller (musician)|Jacob Miller]] song called "Baby I Love You So", which featured [[Bob Marley]]'s drummer [[Carlton Barrett]] playing a traditional [[one drop rhythm]]. When Tubby completed the dub, which also featured Augustus Pablo on [[melodica]], Barrett's drums regenerated several times and created a totally new rhythm which was later tagged "rockers". This seminal track later also appeared on Pablo's 1976 album ''[[King Tubby Meets Rockers Uptown]]''.

By the later part of the 1970s, King Tubby had mostly retired from music, still occasionally mixing dubs and tutoring a new generation of artists, including [[King Jammy]] and perhaps his greatest protege, Hopeton Brown a.k.a. [[Scientist (musician)|Scientist]].<ref name="Thompson" /> In the 1980s, he built a new, larger studio in the Waterhouse neighbourhood of Kingston with increased capabilities, and focused on the management of his labels Firehouse, Waterhouse, Kingston 11, and Taurus, which released his productions of [[Anthony Red Rose]], [[Sugar Minott]], Conroy Smith, King Everald and other popular musicians.<ref name="Thompson" /><ref name="Bonitto" />