While dubplate cutting began in earnest in the UK in the 1980s, it was the Music House cutting facility that popularised making jungle plates. It was a way for DJs to compete and keep crowds coming back, especially during a pre-internet era when pirate radio, raves, and record shops were the only places you could hear new music prior to its release. Just as floor-rumbling bass and reggae samples were highly prized in the jungle scene, so too was having tracks that no one else had. You couldn’t get these tunes, no matter how hard you tried." Groove used to get it first, then me and Randall and Scotty-and that was it. Goldie never used to give his tunes to more than two people. and no one else would have access to them. He had instant access to Photek, Dillinja. Groove would go and play a set down Blue Note, and some of these tunes would come out eighteen months later. "We had access to music that no one else did, so it was really important that we went out there and did our thing," Fabio continues. ‘That would create a buzz on the track-that’s how you’d do the hype. ‘Groove would play something brand new, and everyone would talk about it,’ explains Fabio. Before the existence of CDJs, a dubplate allowed a DJ to play a just-finished track before its official release-sometimes months and months upfront. Successful soundsystems in Jamaica, and then in the UK, could draw ever larger crowds with the promise of exclusive, exceptional tracks and the dubplate idea, like other facets of reggae, was carried over to jungle/drum & bass.įabio & Grooverider were the first DJs from the acid-house era to cut their own dubplates-closely followed by Micky Finn. Originally consisting of dub or vocal reggae tracks, having a selection of plates in your record bag was a form of one-upmanship that could give you an edge: after all, the DJ with the baddest tunes wins the battle. An acetate pressing of unreleased music, produced especially for DJs and soundsystems, the dubplate was the secret weapon with which top selectors could annihilate their rivals in a soundclash. ![]() I would be interested in ideas or interested personnel who think they could help.Īlso, if anyone knows a better place for this inquiry, please suggest so, this was the most relevant I could find.Exalted among the many musical innovations that Jamaica has given the world is the dubplate. I am wondering if anyone can give advice on where to start for something like this? I did not build any of this myself and am not experienced with wiring or as an electrician. I have particularly photographed areas I see as potentially unstable or problematic.hopefully it helps: Please see the following URL for pictures of our current setup. Then the signal path inside the desk is not completely known to me. ![]() Cables going from Neumann desk to black amplifier > circuit breaker / fuse, then cutter head ![]() Scully lathe -customised control panel and drive motor has been replaced by a dj turntable As you will see on the pics, this is currently just the contacts from a plug.Ĭurrently my understanding of how to fix these issues is minimal. This is to make it more reliable as well as some improvements that can be made to the signal path, soldering and fixings which supply heat to the stylus on the cutter head. I'm looking for an electronics or service engineer for a few important electrical/wiring fixes needed for the lathe and control panel. We have started up around 9 months ago cutting is going well and generally sounds good but reliability is very up and down due to some patchy electronics and soldering. ![]() Hi - we are a relatively new acetate dub cutting studio based in Nottingham.
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