Sly And Robbie Meet King Tubby Sly And Robbie Meet King Tubby
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He knew how the circuits worked and what the electrons did. That's why he could do what he did". King Tubby's first interaction with the music industry came in the late s with the rising popularity of Jamaican sound systemswhich were to be found all over Kingston and which were developing into enterprising businesses. As a talented radio repairman, Tubby soon found himself in great demand by most of the major sound systems of Kingston, as the tropical weather of the Caribbean island often combined with sabotage by rival sound system owners led to malfunctions and equipment failure.
It was here that he built large amplifiers for the local sound systems. Inhe built his own radio transmitter and briefly ran a pirate radio station playing ska and rhythm and blues which he soon shut down when he heard that the police were looking for the perpetrators. Tubby began working as a disc cutter for producer Duke Reid in Before the advent of dub, most Jamaican 45s featured an instrumental Swayzak vs Theorem Break In At Apartment 205 of the main song on the flipside, which was called the "version".
When Tubby was asked to produce versions of songs for sound system MCs or toastersTubby initially worked to remove the vocal tracks with the faders on Reid's mixing desk, but soon discovered that the various instrumental tracks could be accentuated, reworked and emphasised through the settings on the mixer and primitive early effects units.
In time, Tubby began to Liliput Split Die Matrosen wholly new pieces of music by shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like extreme delays, echoes, reverb and phase effects.
King Tubby's production work in the s made him one of the best-known celebrities in Jamaicaand would generate interest in his production techniques from producers, sound engineers and musicians across the world.
Tubby built on his considerable knowledge of electronics to repair, adapt and design his own studio equipment, which made use of a combination of old devices and new technologies to produce a studio capable of the precise, atmospheric sounds which would become Tubby's trademark.
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