6/24/2023 0 Comments Dubplate prices“I think we have passed that stage now, but the clashes were filled with passion, and when temperatures rose, it reached that point. I was using the microphone, and I actually got hit with a bottle in my face,” he recalled. Sign up for The Gleaner’s morning and evening newsletters. Walford recalled an incident in the 1990s at a clash with Killamanjaro in Junction, St Elizabeth. he did really well on the clash scene for us because at that time, it was like a boxing match.”Ī match that would sometimes get physical. “He was well regarded in the business (as a matter of fact to this day) as the best DJ, or the best person to have ever enter a clash scene,” he said of Bennett, who died in 2009. “I can remember preparing to challenge the top sounds of the day, and that was how you’d be graded – how well you do against the big sounds like Bodyguard and Killamanjaro.”īass Odyssey, which also comprised selector Tinna One, quickly distinguished itself as a clash contender through creativity, slick dubplates, and an enviable crew, which included selector Kevin ‘Squingy’ Bennett when he was just 17 years old. ![]() the whole thinking at that time was you have to clash with other sounds in your area to prove your dominance,” he said. “For Bass Odyssey, it was a matter of making a name. On entering the scene in 1989 with his Bass Odyssey sound system, Keith Walford knew he had to bring his A-game. His sound copped the winning trophy that evening, and the clash atmosphere would become more competitive in the coming years. “The venue was big and held thousands of people, and it was a unique, central dancehall space.” The community sound clash was restricted to just the community, but this one was more international and better promoted,” Lloyd ‘King Jammy’ James told The Sunday Gleaner. King Jammys, Black Scorpio, Arrows International, and Youthman Promotions were in the ‘ring’. ![]() The concept was not new as communities had held sound clash battles for decades, but this event would see the activity taking a more commercial turn. Music enthusiasts and curious onlookers crowded Cinema II in New Kingston to indulge in a rising street genre dubbed dancehall as four sound systems put their best dubplates forward in a highly publicised sound clash. I know heads can feel me on this.The year was 1985. dubplates are one of the few things in existence today that are still -well- "sexy". the mystique of dubplate culture is a big part of its allure. it doesnt get all over the internet, and you still maintain a certain mystique around your tunes. with a dubplate you can break the tune to your buddies. but if you break a tune a few times as an exclusive its just more sounds in the palette. ![]() skream for instance has a gazillion dubs. Vinyl dubplates are a recently-developed format which allow extremely durable recordings to be made (lasting 90% as long as pressed vinyl) and are more suited to cases where no release is imminent, or the release date is a long time away. However, because they have a limited life-span they can only be used about fifty times. They are often used as a market research tool to assess the probable sales of a tune once it's released, as they are far cheaper to produce than a pressed vinyl. These dubplates will often be either unreleased recordings (which may or may not end up being made available to the general public) or exclusive versions or remixes of existing recordings. The name also refers to an exclusive, 'one-off' acetate disc recording pioneered by Reggae sound systems but also used by drum and bass and other dance music artists, DJs and sound systems. people like skream, dmz, n-type must spend all of their gig money on new dubs (do these big name artists live off music or all have day jobs?)Ī dubplate is an acetate disc - usually 12 inches, 10 inches or 7 inches in diameter - used in mastering studios for quality control and test recordings before proceeding with the final master, and subsequent pressing of the record to be mass produced on vinyl. I don't quite know what the point of my question is, just wondered what people think about it.īesides the audio-quality-aspect of dubs i just wonder why people spend so much money (especially strictly dubplate dj's) if they could also have their tracks mastered and play them from high quality cd/serato with a minimum of the original cost.i think it's cool they prefer quality, just interesting for me to see that this has become more important to dj's again. i personally think it is great that people spend a lot of money and time to get some good quality music (especially with dope sounding dubplates that can get scratched easily and won't last very long in comparison to regular vinyl). I'm just surprised that people really spend a whole lot of money on dubs, while all this p2p-mp3-final-scratch-cdr-serato-madness is going on.
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