Editing Dub music (section)

==="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>