Editing Drum and bass (section)

==Musical features==
Drum and bass incorporates a number of scenes and styles, from the highly electronic, [[industrial music|industrial]] sounds of techstep to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum.<ref name="AllMusic"/><ref name="SimonReynoldsOnTechstep"/> The sounds of drum and bass are extremely varied due to the range of influences behind the music. Drum and bass could at one time be defined as a strictly electronic musical genre, with the only "live" element being the DJ's selection and mixing of records during a set. "Live" drum and bass using electric, electronic and acoustic instruments played by musicians on stage emerged over the ensuing years of the genre's development.<ref>New Dawn – City Clubs Take Back The Night article, ''Village Voice'', 27 February 2001</ref><ref>{{Cite web| url = http://www.knowledgemag.co.uk/features.asp?SectionID=1031&uid=&MagID=1059&ReviewID=1696&PageNumber=1| title = Knowledge Magazine Article mentioning rise of live drum and bass in 2004| access-date = 18 October 2006| archive-url = https://web.archive.org/web/20070312231643/http://www.knowledgemag.co.uk/features.asp?SectionID=1031&uid=&MagID=1059&ReviewID=1696&PageNumber=1| archive-date = 12 March 2007}}</ref><ref>{{Cite web| url = http://www.knowledgemag.co.uk/features.asp?ReviewID=1655&PageNumber=1&SectionID=1031| title = Knowledge Magazine Article on live drum and bass bands| access-date = 18 October 2006| archive-url = https://web.archive.org/web/20061019135516/http://www.knowledgemag.co.uk/features.asp?ReviewID=1655&PageNumber=1&SectionID=1031| archive-date = 19 October 2006}}</ref>

===Influences===
A very obvious and strong influence on jungle and drum and bass, thanks to the [[British African-Caribbean community|British African-Caribbean]] [[sound system (DJ)|sound system]] scene, is the original Jamaican [[dub music|dub]] and [[reggae]] sound, with pioneers like [[King Tubby]], [[Peter Tosh]], [[Sly & Robbie]], [[Bill Laswell]], [[Lee "Scratch" Perry|Lee Perry]], [[Mad Professor]], [[Roots Radics]], [[Bob Marley]] and [[Buju Banton]] heavily influencing the music.<ref>{{Cite web |url=http://www.planetdnb.com/dnb_interviews921.php |title=NJC–Sativa Records interview by Dhanu Le Noury at planetdnb.com |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20060510074142/http://www.planetdnb.com/dnb_interviews921.php |archive-date=10 May 2006}}</ref><ref>{{Cite web | url = http://www.tranzfusion.net/articles/shownews.asp?newsid=4873 | title = A Guy Called Gerald's Silent Drum & Bass Protest by Benedetta Skrufff at tranzfusion.net | access-date = 6 September 2006 |archive-url = https://web.archive.org/web/20060917100056/http://www.tranzfusion.net/articles/shownews.asp?newsid=4873 | archive-date = 17 September 2006}}</ref> This influence has lessened with time, but is still evident, with many tracks containing ragga vocals.

As a musical style built around [[funk]] or [[syncopation|syncopated]] [[rock and roll]] [[drum break|breaks]], [[James Brown]], [[Al Green]], [[Marvin Gaye]], [[Ella Fitzgerald]], [[Gladys Knight & the Pips]], [[Billie Holiday]], [[Aretha Franklin]], [[Otis Redding]], [[the Supremes]], the [[Commodores]], [[Jerry Lee Lewis]], and even [[Michael Jackson]] acted as funk influences on the music.<ref name="Fabio1">{{Cite web| url = http://www.redbullmusicacademy.com/TUTORS.9.0.html?act_session=291 | title = Red Bull Academy Interview Fabio – The Root to the Shoot| access-date = 4 September 2007|archive-url=https://web.archive.org/web/20080420131001/http://www.redbullmusicacademy.com/TUTORS.9.0.html?act_session=291|archive-date=20 April 2008}}</ref><ref>{{Cite web| url = http://www.breakbeat.co.uk/news/default.asp?newsID=1382 | title = Liquid V Show Us The Bigger Picture | publisher= breakbeat.co.uk| access-date = 6 September 2006}} {{Dead link|date=September 2010|bot=H3llBot}}</ref><ref>{{Cite web |url=http://www.rwdmag.com/articles/fullstory.php?&sid=&id=367 |title=Mike Bolton interview on rwdmag.com |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20061025084047/http://www.rwdmag.com/articles/fullstory.php?&sid=&id=367 |archive-date=25 October 2006}}</ref><ref>{{Cite web |url=http://www.salon.com/ent/music/int/1999/09/28/everything/print.html |title=Being Everything But The Girl |work=Salon |date=28 September 1998 |access-date=26 January 2007 |archive-url=https://web.archive.org/web/20071111114512/http://www.salon.com/ent/music/int/1999/09/28/everything/print.html |archive-date=11 November 2007}}</ref><ref>{{Cite web| url = http://www.bbc.co.uk/1xtra/bailey/profile/ | title = Bailey profile |publisher= BBC| access-date = 6 September 2006}}</ref><ref>{{Cite web|url=http://www.404audio.com/?q=interviews&more=1&p=315 |title=Makoto interview |publisher=404audio.com |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20061102024242/http://www.404audio.com/?q=interviews&more=1&p=315 |archive-date=2 November 2006}}</ref> [[Jazz]] pioneer [[Miles Davis]] has been named as a possible influence.<ref>{{Cite web |url=http://www.breakbeat.co.uk/features/Illlogic&raf.html |title=Ill Logic & Raf interview |publisher=breakbeat.co.uk |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20061011213509/http://www.breakbeat.co.uk/features/Illlogic%26raf.html |archive-date=11 October 2006}}</ref> [[Blues]] artists such as [[Lead Belly]], [[Robert Johnson]], [[Charlie Patton]], [[Muddy Waters]] and [[B. B. King]] have also been cited by producers as inspirations. Even modern avant-garde composers such as [[Henryk Gorecki]] have received mention.<ref>{{Cite web | url = http://www.techno.de/mixmag/97.09/Goldie.a.html | title = Goldie | first = Matthew | last = Collin | publisher = techno.de | access-date = 6 September 2006 | archive-url = https://web.archive.org/web/20120315014917/http://www.techno.de/mixmag/97.09/Goldie.a.html | archive-date = 15 March 2012 | url-status = dead }}</ref> One of the most influential tracks in drum and bass history was "Amen Brother" by [[The Winstons]], which contains a drum solo that has since become known as the "[[Amen break]]", which, after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.<ref name="Amen Break video on youtube.com" />

[[Kevin Saunderson]] released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s, which were hugely influential in drum and bass. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's ''Terrorist'' and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important to the scene was [[Carl Craig]]. The sampled-up jazz break on Craig's ''Bug in the Bassbin'' was also influential on the newly emerging sound. DJs at the [[Heaven (nightclub)|Heaven]] nightclub on "Rage" nights used to play it as fast as their [[Technics (brand)|Technics]] record decks would go, pitching it up in the process.<ref>{{Cite web|title=Fabio|url=https://www.redbullmusicacademy.com/lectures/fabio-the-root-to-the-shoot|access-date=23 July 2021|website=redbullmusicacademy.com}}</ref>

By the late 1980s and early 1990s, the tradition of breakbeat use in hip hop production had influenced the sound of [[breakbeat hardcore]], which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats.<ref>{{Cite web |url=http://www.native-instruments.com/index.php?id=photek2_us |title=Photek interview |publisher=native-instruments.com |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20060320042140/http://www.native-instruments.com/index.php?id=photek2_us |archive-date=20 March 2006}}</ref><ref>{{Cite web |url=http://www.planetdnb.com/dnb_interviews1196.php |title=MC XYZ interview at planetdnb.com |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20060510074154/http://www.planetdnb.com/dnb_interviews1196.php |archive-date=10 May 2006}}</ref> Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. [[Grandmaster Flash]], [[Roger Troutman]], [[Afrika Bambaata]], [[Run DMC]], [[Mac Dre]], [[Public Enemy]], [[Schooly D]], [[N.W.A]], [[Kid Frost]], [[Wu-Tang Clan]], [[Dr. Dre]], [[Mos Def]], [[Beastie Boys]] and the [[Pharcyde]] are very often directly sampled, regardless of their general influence.<ref name="Zinc">{{Cite web| url = http://www.redbullmusicacademy.com/TUTORS.9.0.html?act_session=242| title = Zinc interview – Hardware Bingo| publisher = Red Bull Academy| access-date = 4 September 2007| archive-date = 10 May 2010| archive-url = https://web.archive.org/web/20100510190649/http://www.redbullmusicacademy.com/video-archive/lectures/uidcall/242/| url-status = dead}}</ref>

Clearly, drum and bass has been influenced by other music genres, though influences from sources external to the [[electronic dance music]] scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called "intelligent drum and bass" and techstep.<ref>{{Cite web | url= http://www.nigelberman.co.uk/feature1_nov2002.htm | title= Goldie article | work= Insight | first= Nigel | last= Berman | year= 2002 | publisher= Nigel Berman | access-date= 6 September 2006 |archive-url= https://web.archive.org/web/20130123145756/http://www.nigelberman.co.uk/feature1_nov2002.htm | archive-date= 23 January 2013}}</ref><ref>{{Cite web | url = http://www.knowledgemag.co.uk/features.asp?ReviewID=1343&PageNumber=1&SectionID=1031 | title = LTJ Bukem | publisher = knowledgemag.co.uk | access-date = 6 September 2006 | archive-url = https://web.archive.org/web/20070927043116/http://www.knowledgemag.co.uk/features.asp?ReviewID=1343&PageNumber=1&SectionID=1031 | archive-date = 27 September 2007}}</ref><ref>{{Cite web |url=http://www.020.com/webs/02006/london/showArticle_london.cfm?id=384 |title=History of drum & bass on London News |access-date=18 January 2007 |archive-url=https://web.archive.org/web/20070206161209/http://www.020.com/webs/02006/london/showArticle_london.cfm?id=384 |archive-date=6 February 2007}}</ref><ref>{{Cite web | url = http://www.knowledgemag.co.uk/features.asp?ReviewID=1691&PageNumber=1&SectionID=1031 | title = Klute | publisher = knowledgemag.co.uk | access-date = 6 September 2006 | archive-url = https://web.archive.org/web/20070313005729/http://www.knowledgemag.co.uk/features.asp?ReviewID=1691&PageNumber=1&SectionID=1031 | archive-date = 13 March 2007}}</ref> It still remains a fusion music style.

Some tracks are illegally remixed and released on [[white label record]]s (technically bootleg), often to acclaim. For example, [[DJ Zinc]]'s remix of [[Fugees]]' "[[Ready or Not (Fugees song)|Ready or Not]]", also known as "Fugee Or Not", was eventually released with the Fugees' permission after talk of legal action, though ironically, the Fugees' version infringed [[Enya]]'s copyright to an earlier song.<ref name = "Zinc"/> White labels, along with [[dubplate]]s, played an important part in drum and bass musical culture.

===Drum elements===
====Sampling====
The [[Amen break]] was synonymous with early drum and bass productions but other samples have had a significant impact, including the [[Apache (single)|Apache]], [[Funky Drummer]], "Soul Pride", "Scorpio" and "[[Think (About It)]]" breaks.<ref>{{Cite web| url = http://www.knowledgemag.co.uk/features.asp?SectionID=1031&uid=&MagID=1062&ReviewID=1684&PageNumber=1| title = Forever And Ever Amen article on knowledgemag.co.uk| access-date = 6 September 2006 |archive-url= https://web.archive.org/web/20070309101109/http://www.knowledgemag.co.uk/features.asp?SectionID=1031&uid=&MagID=1062&ReviewID=1684&PageNumber=1| archive-date = 9 March 2007}}</ref><ref>{{Cite web | url = http://www.junglebreaks.co.uk/breaks.html | title = The Breaks | website = Jungle Breaks | access-date = 15 August 2010 | archive-url = https://web.archive.org/web/20100804172201/http://www.junglebreaks.co.uk/breaks.html | archive-date = 4 August 2010}}</ref> Early pioneers often used [[Akai]] [[Sampler (musical instrument)|samplers]] and [[Music sequencer|sequencers]] on the [[Atari ST]] to create their tracks.<ref>{{cite web|url=http://www.knowledgemag.co.uk/features.asp?SectionID=1031&uid=&MagID=1062&ReviewID=1684&PageNumber=1 |title=Forever And Ever Amen article on knowledgemag.co.uk |access-date=6 September 2006 |archive-url=https://web.archive.org/web/20070309101109/http://www.knowledgemag.co.uk/features.asp?SectionID=1031&uid=&MagID=1062&ReviewID=1684&PageNumber=1 |archive-date=9 March 2007}}</ref>

====Synthesis====
[[File:Roland TR-808 drum machine.jpg|thumb|The [[Roland TR-808|Roland TR-808 Rhythm Composer]], produced 1980–1984, had a bass drum sound which became very important in drum and bass.]]

Of equal importance is the TR-808 kick drum, an artificially down-pitched or elongated [[bass drum]] sound sampled from [[Roland Corporation|Roland]]'s classic [[Roland TR-808|TR-808]] drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.<ref name="TR-808">{{Cite web| url = http://www.synthmuseum.com/roland/roltr80801.html | title = TR-808| access-date = 24 December 2006}}</ref>

====Rhythm composition====
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. A more recent commonly used break is the "Tramen", which combines the [[Amen break]], a [[James Brown]] funk breakbeat ("[[Tighten Up (Archie Bell & the Drells song)|Tighten Up]]" or "Samurai" break) and an [[Alex Reece]] drum and bass breakbeat.<ref>{{Cite web| url = http://www.knowledgemag.co.uk/features.asp?ReviewID=1610&PageNumber=1&SectionID=1031| title = Dom & Roland interview by Ben Willmott at knowledgemag.co.uk| access-date = 6 September 2006 |archive-url = https://web.archive.org/web/20110724011252/http://www.knowledgemag.co.uk/features.asp?ReviewID=1610&PageNumber=1&SectionID=1031| archive-date = 24 July 2011}}</ref>

The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. [[Syncopated]] breakbeats remain the most distinctive element as without these a high-tempo [[Time signature|4/4]] dance track could be classified as [[techno]] or [[gabber]].<ref>{{Cite web| url = http://store.drumbum.com/drums/drum-n-bass-drum-and-bass.htm| title = Life in The Fast Lane: An Overview of Drum and Bass by George Broyer at drumbum.com| access-date = 6 September 2006| archive-url = https://web.archive.org/web/20110807102130/http://store.drumbum.com/drums/drum-n-bass-drum-and-bass.htm| archive-date = 7 August 2011 }}</ref>

The complex [[syncopation]] of the drum tracks' [[break (music)|breakbeat]] is another facet of production on which producers can spend a very large amount of time. The [[Amen break]] is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.<ref name="Amen Break video on youtube.com" />

===Bass elements===
The genre places great importance on the [[bassline]], in this case a deep [[sub-bass]] musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different [[timbre]]s in the bass line region, particularly within [[techstep]]. The bass lines most notably originate from [[Sampling (music)|sampled]] sources or [[synthesizer]]s. Bass lines performed with a bass instrument, whether it is electric, acoustic or a [[double bass]], are less common.

===Atmospheric elements===
Atmospheric pads and samples may be added over the fundamental drum and bass to provide different feels. These have included "light" elements such as ambient pads as found in ambient electronica and samples of jazz and world musics, or "dark" elements such as [[Consonance and dissonance|dissonant]] pads and sci-fi samples to induce anxiety in the dancer.

===Vocal and melodic elements===
Old-school DnB usually included an MC providing vocals. Some styles (such as jazz-influenced DnB) also include melodic instruments soloing over the music.

===Tempo===
Drum and bass is usually between 160 and 180 BPM, in contrast to other [[breakbeat]]-based dance styles such as [[nu skool breaks]], which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently, some producers have started to once again produce tracks with slower tempos (that is, in the 150-170 bpm range), but the mid-170s tempo is still a hallmark of the drum and bass sound.<ref name = "Zinc"/><ref name = "Fabio3"/>

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass, but instead may qualify as a drum and bass-influenced breakbeat track.<ref>{{Cite web| url = http://remixmag.com/mag/remix_drumnbasspioneer_rob_playford/| title = Remix Mag Interview with Rob Playford, drum and bass pioneer at remixmag.com| access-date = 5 October 2006 |archive-url = https://web.archive.org/web/20070207105625/http://remixmag.com/mag/remix_drumnbasspioneer_rob_playford/| archive-date = 7 February 2007}}</ref>

===Drop===
Many mixing points begin or end with a "[[drop (music)|drop]]". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and [[breakdown (music)|breakdown]]. Sometimes, the drop is used to switch between tracks, layering components of different tracks, as the two records may be simply ambient breakdowns at this point. Some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" the record by spinning it back and restarting it at the build. The drop is often a key point from the point of view of the dance floor, since the drum breaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to begin dancing.