Editing Dub music (section)

===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>