ABOUT THE TIME you read this, Night Dubbin
I want to go into your background a little bit, as I find it inspiring to a lot of young DJs. From what I understand, you wanted to be a remixer but figured you had to be a DJ first?
I did want to become a remixer first. As I was buying a lot of records, I thought DJing would be a good means of subsidizing that habit and making others enjoy different sounds. I was disappointed by my first experiences as I was treated as a human jukebox enslaved to the owners' limited taste in music. This was definitely not a creative route to follow.
To get a remix job, I needed to expose the edits I was doing, so I figured radio could help. In the mid 1980s there was a bustling pirate, then private radio scene and I haggled my way in. I eventually got my own mixshow and that got me my first remix gig in 1986. I built up my rep for 12 years over the airwaves. As the perception of the DJ evolved from anonymous club employee to headliner, I got finally booked for my music selection in clubs.
I know what it is to be discouraged and right now more than ever, but I'm afraid I have no magical advice. I think it might help to regard music as a side thing until it can eventually take off as a full job - that way it always stays a pleasurable thing. When you start compromising too much in music, it's very easy to get lost.
Imagination - Changes (Dimitri From Paris is Nightdubbin Remix)
You really got your feet in the industry via your show on Radio 7. Could you see yourself having the freedom on radio now to play the records that you want?
I think that would be unthinkable to have freedom in a large media now. My show got cancelled after 12 years because it was the only one not following any generic playlist and that became unbearable to the radio's decision makers.
However there are still countries with strong public radio networks that offer specialised shows in semi-niche genres. Northern Europe is quite good with trying to spread a variety a musical genres, including electronic and dance-related material, as part of their cultural mission. Radio 7 in France was such an outlet, and it was never replaced after it was shut down in the early 1990s. In North America I heard good things on college, community and even satellite radio. If I were to start now, I imagine I would need to use the internet as my main springboard. Problem is it's oversaturated, and it feels like one needs more "marketing" skills than musical ones to get noticed.
We have an audience that's made up of both really old school DJs as well as just the party people who love this music but don't have much experience with technical terms. So this might be a bit like asking a bishop to explain Christianity (ha!), but could you, in your own words, explain what is meant by "Dub"?
A tough one indeed... OK, brace yourselves, as I'll be going through the scenic route:
I believe the word "Dub" is derived from the audio engineering term "dubbing plate" - "dubbing" meaning here duplicating an audio signal. It is also sometimes referred to as an "Acetate" (because it was using that particular chemical compound) and it designates a 7", 10'' or 12" metal plate with a soft, waxy, plastic coating on which sound can be engraved using a specific cutting machine. The "dubbing plate" denomination was casually shortened to "dubplate".
In the old analog days, a song was recorded onto a multitrack magnetic tape reel. Usually each instrument featured in the song would be recorded on it's own separate track or channel. Same went for the vocal content. After all the elements were recorded, all the channels (ranging from 3 to 48+) would be mixed down to a stereo 2 track magnetic tape (one track for the left side, one for the right side). That's what's called "the Master" and is the definitive version of the recording the general public gets to hear. The Master needed to be duplicated (dubbed) so it could then be mass manufactured in the form of vinyl records, cassettes, 8 tracks, and later CDs.
The duplication process for vinyl is to play the Master tape through a heavy cutting machine (resembling a huge record turntable, with a large needle) that is literally cutting a sonic groove on a blank plate. This plate, named the "Lacquer", is then used in a pressing plant to imprint a master duplication mold.
Now, the "Dubplate" was a ONE-OFF disk similar to the Lacquer (but with a different coating) that would be engraved so the producers of the recording could check the sonic quality of the freshly-cut groove. That one off Dubplate could be played on any turntable. Hence, the newly finished song could be tested in a home set-up, played on radio, at clubs - you name it. Remember, there were no CDs nor CDRs at that time, so there was no other way than the Dubplate to try out a new record before mass manufacturing it.
Club music producers became eager to take those Dubplates to their DJ buddies so they could test them out to an audience. If something wasn't sounding right, they could go back in the studio, remix all the channels and come back and test with a new Dubplate. Once it was good to go, the manufacturing process could be launched.
And what does all it got to do with Dub music, you rightly ask?
Well, as producers would bring their fresh songs on Dubplates to the DJs in clubs, the DJs would comment on how this or that should have been done differently. This led some clever producers to take a shortcut and get the DJs in at the mixing stage so they could do to the song what they thought would be the most relevant from a dancefloor-filling point of view. So they happily did and the club mix or remix concept was born. The DJs were first credited as "mix consultants" and then simply remix artists.
And again? the Dub mix?
Well, yes, that pretty much was a Jamaican thing. Jamaican DJs were operating or attached to mobile soundsystems. They used to always have an MC sort of rapping ("toasting" in Jamaican lingo) over the popular records. So the DJs favored instrumental versions of their popular songs to leave room for the MCs to entertain. Those instrumental versions were not always made available by the producers to the public and hence were cut on one-off Dubplates. They very quickly became known as "Dub versions" or just "Versions" in Jamaican DJ slang. They became quite in-demand and ended being commercial available as b-sides.
As DJs were getting more involved in the mixing process of the record, they started adding special effects, like weird sounds, spacey echoes, swooshy cymbals, etc... which would infuse extra excitement in the dancefloor-oriented songs.
So while Dub was a staple of the Jamaican dancefloors, it only seems to have started making its way into other genres in the late 1970s, early 1980s, particularly in New York. One can imagine that the large Jamaican community and its then open-all-hours underground club scene must have somewhat interacted.
As the New York DJ was playing a larger part in the conception of dance oriented records, demand for remixes increased and it was time to try and experiment to keep an edge. It is unclear whether someone like DJ Walter Gibbons (RIP) was familiar with Jamaican Dub, but he definitely gave his mixes a similar approach. Other DJs like Francois Kevorkian were more directly influenced by it.
Knowingly or not, many DJs/remixers used Jamaican-originated techniques, while building new ones over them. Applied to a different style of music - primarily Disco - they created a brand new genre, one that is still influencing producers 30 years later.
And if you're still reading, that is what my new compilation focuses on!
Terry Matthew is the managing editor of 5 Magazine. You can contact him at 
