Editing Breakbeat hardcore (section)

=== Early 1990s: origins ===
{{Main|Rave}}
[[File:Fantazia Summertime Rave.jpg|thumb|Fantazia Summertime rave, May 1992]]
The [[rave]] scene expanded rapidly in the very early [[1990s in music|1990s]], both at [[Nightclub|clubs]] up and down the country including [[Labrynth (club)|Labrynth]], [[Shelley's Laserdome]], [[The Eclipse (club)|The Eclipse]], and [[Sanctuary Music Arena]], and large raves in [[Warehouse]]s and in the open air attracting 20–50,000 whether put on legally from promoters such as [[Fantazia (rave music promoter)|Fantazia]] and [[Raindance (rave music promoter)|Raindance]], or unlicensed by [[free party]] [[Sound system (DJ)|sound systems]] such as [[Spiral Tribe]]. Breakbeat hardcore drew its melting pot of sound from a vast array of influences – from [[new beat]] and [[Belgian techno]] that had for a short period been prominent in the UK [[rave music|rave]] scene, to [[house music|house]] and [[acid house]], and furthermore drawing on [[hip hop music|hip hop]] and [[reggae]] culture.{{sfn|Reynolds|2013|pp=96–97|loc="Between 1990 and 1993, hardcore in Britain referred by turns to the Northern bleep-and-bass sound of Warp and Unique 3, to the hip-house and ragga-techno sounds of the Shut Up And Dance label, to the anthemic pop-rave of acts like N-Joi and Shades of Rhythm, to Belgian and German brutalist techno, and, finally to the breakbeat-driven furore of hardcore jungle...Influenced by reggae and hip hop, hardcore producers intensified the sub-bass frequencies, used looped breakbeats to funk up house's four-to-the-floor machine-beat, and embraced sampling with deranged glee. Following the lead of the bombastic Belgians and Germans, UK producers deployed riff-like 'stabs' and bursts of glaring noise." }} Amongst the influences from within the rave scene itself upon which this strain of hardcore drew were such acts as [[4hero|Manix]], [[Rising High Records#Caspar Pound|The Hypnotist]], [[CJ Bolland]] with his "Ravesignal" series, and [[T99]].{{sfn|Reynolds|2013|p=120|loc="On the outskirts of the Top Forty, tracks by Manix, T99, the Hypnotist, Quadrophonia, Ravesignal, A Split Second, Congress and UHF exacerbated the sense of a barbarian horde waiting to overrun the pop citadel. In terms of hit rate, this 'golden age of hardcore' compares with the punk/New Wave period of the late seventies."}} The huge increase in producers was also driven by the increasing availability of cheap home computer-based studio setups, particularly [[Steinberg Cubase|Cubase]] for the [[Atari ST]].{{sfn|Reynolds|2013|p=96}}