![]() ![]() ![]() It’d make people want it more! These days music isn’t worth anything.” You paid to get them made and no one could copy them.” The producer shakes his head, then continues, “You’d only give copies to certain DJs that were on the right level. Our best music was held on these metal discs. The jungle, drum & bass and garage producers are no longer found here anymore.ĭillinja remains exasperated by the loss of dubplate culture to digital: “I severely miss the benefits of holding back music. But where the lathes once produced a week-long torrent of innovative music, now their output is just a revered and treasured trickle of reggae re-rubs. Jamaican selectors may still cut “specials” which reference a rival’s name, or perhaps they cut a dubplate after persuading a legendary singer to mention their own soundsystem at the start of an anthem for killer prestige in a sound clash. p. 117.Dillinja’s diagnosis of the scene being dead rings true for any producer or DJ except those in reggae. "Meet the studios keeping dubplate culture alive". "Nuff Wheel Ups: Exploring Dubplate Culture". Archived from the original on 16 July 2015. "Dreams rendered in metal: A look into dubplate culture". Archived from the original on 4 April 2019. "Dubplate Culture: Analogue Islands in the Digital Stream". ![]() ^ "Music House Studio Inside one of London's legendary dubplate studios".^ "The strange origin of the UK Reggae big bass sound: John Hassell Recordings, Barnes"."How Jamaican soundsystem culture conquered music". Etymology Īccording to David Toop, the " dub" in dubplate is an allusion to the dubplate's use in "dubbing" or "doubling" the original version of a track. New music would regularly be composed and recorded onto DAT tape in order for it to be cut onto dubplate, often so that it could be played that weekend (or even that night).ĭespite the shift to DJing on digital mediums such as CDJs and DJ controllers, dubplates continue to be used for playing exclusive music and have also gained a specialist market in recent years. This would be followed through its descendants UK garage, grime and dubstep, and cutting houses such as Transition. Whilst acetates have been used in the music industry for many years, especially in dance music, dubplates would become a particularly important part of the jungle/ drum and bass scene throughout the 1990s. Throughout the 1980s and 1990s, Music House in North London and JTS Studio in East London would become the two most prominent "cutting houses". John Hassell and his wife ran a recording studio from their suburban house in Barnes, South West London, but would become key to British sound systems and artists such as Dennis Bovell. In the UK, the earliest place to cut reggae dubplates would also be one of the most unlikely. As such, these would become known as "dubplate specials" often remarking on the prowess of the sound system playing it, in a bid to win the clash. Special and one-off versions would be cut to acetate for competing in a sound clash, utilising vocals specially recorded to namecheck the sound system. The first use of dubplates is commonly attributed to sound engineer King Tubby and reggae sound systems such as Lloyd Coxsone and Killamanjaro.
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