Editing Drum and bass (section)

===20th century===
In the late 1980s and early 1990s, a growing [[nightclub]] and overnight outdoor event culture gave birth to new genres in the [[rave]] scene including [[breakbeat hardcore]], [[darkcore]], and [[hardcore jungle]], which combined sampled [[syncopated]] beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. From as early as 1991, tracks were beginning to strip away some of the heavier sampling and "hardcore noises" and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as [[hardcore jungle]] (later to become simply [[Jungle (music)|jungle]]), whilst [[darkcore]] (with producers such as [[Goldie]], [[Doc Scott]], [[4hero]], and [[2 Bad Mice]]) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993.

By 1994, [[Jungle (music)|jungle]] had begun to gain mainstream popularity, and fans of the music (often referred to as [[junglist]]s) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the [[raggamuffin music|raggamuffin]] sound, [[dancehall]], [[Rapping|MC]] chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the [[MDMA|ecstasy]]-fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.<ref>{{Cite book
|last = Reynolds
|first = Simon
|title = Energy Flash: A Journey Through Rave Music and Dance Culture
|year = 2013
|publisher = Soft Skull Press
|quote = So when I talk about the vibe disappearing from drum and bass, I'm talking about the blackness going as the ragga samples get phased out, the bass loses its reggae feels and becomes more linear and propulsive rather than moving around the beat with a syncopated relation with the drum.
}}</ref>

As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognisable subgenres such as [[hardstep]], jump up, ragga, techstep, and what was known at the time as intelligent. As more melodic and often jazz-influenced subgenres of drum and bass called atmospheric or intelligent ([[Blame (music producer)|Blame]] and [[Blu Mar Ten]]) and jazzstep ([[4Hero]], [[Roni Size]]) gained mainstream appeal, additional subgenres emerged including [[techstep]] in 1996, drawing influence from [[techno]].