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The Whitfield Express - Nytronix / The Roller - Ransom Records - Dub

The Whitfield Express - Nytronix / The Roller - Ransom Records - Dub
Price £5.00

Track Listing

A1 Nytronix
B1 The Roller


Media Condition » Near Mint (NM or M-)
Sleeve Condition » Generic
Artist The Whitfield Express
Title Nytronix / The Roller
Label Ransom Records
Catalogue RAN004
Format Vinyl 12 Inch
Released 2001
Genre Dub

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Some Other Artists in the Dub Genre

Gary Clail & On-U Sound SystemSugar BulletTackheadConcrete NationOui 3Majestic 12Border CrossingBeats InternationalMonyakaF.A.B.Zeke ManyikaMovement 98Stock, Aitken & WatermanTerranovaLazyboyGregory IsaacsThe ConceptLarry PeeInternational Pony & StepchildPlatinum Radics & Governor TiggyUnitone Rockers & Black SteelCheshire CatNew KingdomCashmereKieser.VeltenRed DragonGoat DanceSly & RobbieWalkner.MöstlFaze ActionBad Street BoyDJ ShadowBomb The Bass & CarltonFrantic LanguageOosh Delaney's Rhythm SectionThe MaytalsRaz OharaCarey JohnsonAudioweb

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Some Other Artists on the Ransom Records Label

Benjamin De Angelis & Urbano BarerraBlack Walrus UnlimitedSugarhill Gang

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Information on the Dub Genre

Dub is a genre of music which grew out of reggae music in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Music in this genre consists predominantly of instrumental remixes of existing recordings and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, emphasizing the drum and bass parts (this stripped down track is sometimes referred to as a 'riddim'). Other techniques include dynamically adding extensive echo, reverb, panoramic delay, techno beats and occasional dubbing of vocal or instrumental snippets from the original version or other works. Dub also sometimes features electronically generated sound effects, or the use of distinctive instruments such as the melodica by artists such as Augustus Pablo.

Dub was pioneered by Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Errol Thompson and others in the late 1960s. Similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing desk as an instrument, manipulating tracks to come up with something new and different.

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