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==Characteristics== {{See also|Music of Jamaica}} 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."<ref>{{cite book|last1=Toop|first1=David|title=Ocean of Sound|date=1995|publisher=Serpent's Tail|isbn=9781852423827|page=[https://archive.org/details/oceanofsoundaeth0000toop/page/115 115]|url=https://archive.org/details/oceanofsoundaeth0000toop/page/115}}</ref> Dub music is characterized by a "version" or "double"<ref name="Audio Culture">{{cite book | author= Toop, David | title= Ocean of Sound| year= 2001| publisher= Serpent's Tail| isbn= 1852427434}}</ref> of an existing song, often instrumental, initially almost always pressed on the [[A-side and B-side|B-sides]] of Jamaican [[gramophone record|45 rpm]] records and typically emphasizing the drums and bass for a sound popular in local [[Reggae sound system|sound system]]s. A "version" is an alternative cut of a song made for the DJ to "[[Toasting (Jamaican music)|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.<ref>{{cite book|last=Brewster|first=Bill|title=Last Night a DJ Saved My Life: The History of the Disc Jockey|year=1999|publisher=Headline Book Publishing|location=London|page=100}}</ref> The instrumental tracks are typically treated with [[sound effects]] such as [[delay (audio effect)|echo]], [[reverb effect|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.<ref name="Audio Culture"/><ref name="More Brilliant Than the Sun">{{cite book | author= Eshun, Kodwo | title= More Brilliant Than the Sun| year= 1998| publisher= Quartet Books| isbn= 0704380250}}</ref> Often these tracks are used for "[[Deejay (Jamaican)|toasters]]" rapping heavily rhymed and [[alliterative]] lyrics. These are called "DJ Versions". In forms of [[Sound system (Jamaican)|sound system]]βbased reggae, the performer using a microphone is referred to as the "[[disc jockey|DJ]]" or "[[Deejay (Jamaican)|deejay]]" (where in other genres, this performer might be termed the "MC", meaning "[[Master of Ceremonies]]", or alternately, the later developed slang terms: "Microphone Commander" or "Mic Control"), and the person choosing the music and operating the turntables is called the "[[selector (disc jockey)|selector]]" (sometimes referred to as the DJ in other genres). A major reason for producing multiple versions was economic; a [[record producer]] could use a recording he owned to produce numerous versions from a single studio session. A version was also an opportunity for a producer or remix engineer to experiment and express their more creative side. The version was typically the [[A-side and B-side|B-side]] of a single, and used for experimenting and providing something for DJs to talk over, while the [[A-side and B-side|A-side]] was more often dedicated to the original vocal-oriented track. In the 1970s, [[LP album|LPs]] of dub tracks began to be produced; these could be, variously: a collection of new dub mixes of riddims previously used on various singles, usually by a single producer; the dub version of an existing vocal LP with dub mixes of all the tracks; or, least commonly, a selection of previously unissued original riddims mixed in a dub style.{{citation needed|date=June 2022}}
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