Editing Dub music (section)

==History==
[[File:Lee Perry live.jpg|thumb|upright|[[Lee "Scratch" Perry]] was an early pioneer of the genre]]

Dub music and [[Deejay (Jamaican)|toasting]] introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other. The development of sound system culture influenced the development of studio techniques in Jamaica,<ref>Dub: soundscapes and shattered songs in Jamaican reggae</ref> and the earliest [[DJ]]s, including [[Duke Reid]] and [[Prince Buster]] among others, were toasting over instrumental versions of reggae and developing instrumental reggae music.<ref>Cut 'n' mix: culture, identity, and Caribbean music, p.83</ref>

==="Versions" and experiments with studio mixing (late 1960s)===
In 1968, Kingston, Jamaica sound system operator [[Rudolph "Ruddy" Redwood]] went to [[Duke Reid]]'s [[Treasure Isle]] studio to cut a one-off [[dub plate]] of The Paragons hit "On The Beach". Engineer Byron Smith left the vocal track out by accident, but Redwood kept the result and played it at his next dance with his deejay Wassy [[Deejay (Jamaican)|toasting]] over the rhythm.<ref name="exclaimmag">{{cite web| author= Dacks, David| title= Dub Voyage| url= http://www.exclaim.ca/articles/multiarticlesub.aspx?csid1=114&csid2=779&fid1=27342| work= Exclaim! Magazine| year= 2007| access-date= 2007-09-18| archive-url= https://web.archive.org/web/20071013221903/http://exclaim.ca/articles/multiarticlesub.aspx?csid1=114&csid2=779&fid1=27342| archive-date= 2007-10-13| url-status= dead}}</ref> The [[instrumental]] record excited the people at the [[Sound system (Jamaican)|sound system]] and they started singing [[lyrics]] of the vocal track over the instrumental. The invention was a success, and Ruddy needed to play the instrumental continuously for half an hour to an hour that day.<ref name="Dub p.52">Dub: soundscapes and shattered songs in Jamaican reggae, p.52</ref> The next day [[Bunny Lee]] who was a witness to this, told [[King Tubby]] that they needed to make some more instrumental tracks, as "them people love" them, and they dubbed out vocals from "[[Ain't Too Proud To Beg]]" by [[Slim Smith]]. Because of King Tubby's innovative approach, the resulting instrumental track was more than just a track without a voice – King Tubby interchanged the vocals and the instrumental, playing the vocals first, then playing the riddim, then [[mixture (music)|mixing]] them together. From this point on, they started to call such tracks "versions".<ref name="Dub p.52"/> Another source puts 1967 and not 1968 as the initial year of the practice of putting instrumental versions of reggae tracks to the [[B-side]] of records.<ref>Caribbean popular music: an encyclopedia of reggae, mento, ska, rock steady, p.94</ref>

At [[Studio One (record label)|Studio One]] the initial motivation to experiment with instrumental tracks and studio mixing was correcting the riddim until it had a "feel," so a singer, for instance, could comfortably sing over it.<ref name="Dub p.52"/>

Another reason to experiment with mixing was rivalry among sound systems. Sound systems' sound men wanted the tracks they played at [[Discoteque|dances]] to be slightly different each time, so they would order numerous copies of the same record from a studio, each with a different mix.<ref>Dub: soundscapes and shattered songs in Jamaican reggae, p.53</ref>

===Evolution of dub as a subgenre (1970s)===
By 1973, through the efforts of several independent and competitive innovators, engineers, and producers, instrumental reggae "versions" from various studios had evolved into "dub" as a subgenre of reggae.

The innovative album ''The Undertaker'' by [[Derrick Harriott]] and the Crystallites, engineered by [[Errol Thompson (audio engineer)|Errol Thompson]] and with "Sound Effects" credited to Derrick Harriott, was one of the first strictly instrumental reggae albums on its release in 1970.

In 1973, at least three producers, Lee "Scratch" Perry and the Aquarius studio engineer/producer team of [[Herman Chin Loy]] and [[Errol Thompson (audio engineer)|Errol Thompson]] simultaneously recognized that there was an active market for this new "dub" sound and consequently they started to release the first albums strictly consisting of dub. In the spring of 1973, Lee "Scratch" Perry released ''[[Upsetters 14 Dub Blackboard Jungle]]'', mixed in collaboration with [[King Tubby]] and more commonly known as "Blackboard Jungle Dub". It is considered a landmark recording of this genre.<ref>David Katz, sleeve notes of Auralux reissue of Upsetters 14 Dub Blackboard Jungle, 2004</ref>

In 1974, [[Keith Hudson]] released his classic ''[[Pick a Dub]]'', widely considered to have been the first deliberately thematic dub album, with tracks specifically mixed in the dub style for the purpose of appearing together on an LP, and King Tubby released his two debut albums ''At the Grass Roots of Dub'' and ''Surrounded by the Dreads at the National Arena''.

===Dub history (since the early 1980s)===
Dub has continued to evolve, its popularity waxing and waning with changes in musical fashion. Almost all reggae singles still carry an instrumental version on the B-side and these are still used by the sound systems as a blank canvas for live singers and DJs.

In 1986, the Japanese band [[Mute Beat]] would create dub music using live instruments such as trumpets rather than studio equipment, and became a precursor to club music.<ref>{{cite web|author=Greg Prato |url=http://www.allmusic.com/album/in-dub-mw0000071172 |title=In Dub - Mute Beat &#124; Songs, Reviews, Credits, Awards |publisher=AllMusic |access-date=2014-05-20}}</ref>

In the 1980s, the [[United Kingdom]] became a new centre for dub production with [[Mikey Dread]], [[Mad Professor]] and [[Jah Shaka]] being the most famous. It was also the time when dub made its influence known in the work of harder edged, experimental producers such as Mikey Dread with [[UB40]] and [[The Clash]], [[Adrian Sherwood]] and the roster of artists on his [[On-U Sound Records|On-U Sound]] label. Many bands characterized as [[post-punk]] were heavily influenced by dub. Better-known bands such as [[The Police]], The Clash and UB40 helped popularize Dub, with UB40's [[Present Arms In Dub]] album being the first dub album to hit the UK top 40.

Side by side with reggae at this time (early 1980s) running B side dub mixes, a rising number of American (mostly New York state and New Jersey–based) [[post-disco]] record producers in collaboration with prominent DJs decided to supply 12&nbsp;inch singles with alternate dub mixes, predating the era of "remixes". Reflected in the production of records such as [[The Peech Boys]]' "Don't Make Me Wait", [[Toney Lee]]'s "Reach Up", and artists mostly on New York City labels [[Prelude Records|Prelude]] or [[West End Records|West End]]. In the aforementioned mixes the beat of the record was accentuated, "unnecessary" vocal parts dropped, and other DJ-friendly features making it easy to work with, like picking out key sections to play over other records, heightening the dancefloor effect.

Contemporary instances are also called "dubtronica", "dub-techno", "steppers" or [[electronic music]] influenced by dub music.<ref name="Doherty">Doherty, Greg (2003) "[http://www.miaminewtimes.com/2003-08-14/music/strange-bedfellows/ Strange Bedfellows: Brits like Groove Corporation refile dub under electronica] {{Webarchive|url=https://web.archive.org/web/20140808051557/http://www.miaminewtimes.com/2003-08-14/music/strange-bedfellows/ |date=2014-08-08 }}", ''[[Miami New Times]]'', 14 August 2003, retrieved 8 November 2009</ref>