I am a black man trying to make it in this place we call life. I am the C.E.O/Producer of HRG Productions LLC. I love music and kids. To know me is one of the wonderful joys of life but first you have to get to know me. Ha Ha. Don't forget all you sounds out there if you need DUBS from any artist just give me a holla. Turn around time for dubs 24hrs.

Having a good time without any problems. Don't forget to check out my company other pages. www.myspace.com/hrgproductions www.myspace.com/smugglasmovement HISTORY ON DUBPLATES & SOUND SYSTEMS: The word 'dub' today is used to describe a genre of music that consists predominantly of instrumental re-mixes of existing recordings. These re-mixes radically manipulated and reshape the recording(through the use of sound effects). The production and mixing process is not used just to replicate the live performance of the recording artist, but audio effects and studio 'trickery' are seen as an integral part of the music. The roots of 'dub' can be traced back to Jamaica in the late 1960s, where it is widely accepted that Osbourne Ruddock pioneered the style. Ruddock turned the mixing desk into an instrument, with the Deejay or mixer playing the role of the artist or performer. These early 'Dub' examples can be looked upon as the prelude to many dance and pop music genres. Jamaican music has always borrowed heavily from U.S. popular music form adapting this music to give Jamaica its own unique variations. During the forties 'Big Band' music was very popular in Jamaica, with swing bands touring all over the country playing at local dance halls, but by the 1950's these 'Big Bands' were starting to be superceded by smaller, 'more dynamic, optimistic' bop and rhythm and blues groups. Jamaicans traveling to America in search of work were exposed to this new kind of music, which fitted in perfectly with America's postwar optimism. It was not only being played live but also through large sound systems, and this trend soon followed to Jamaica. Sound system operators started appearing in the ghetto areas of Jamaica's capital Kingston, holding dances in large open spaces called 'lawns'. These operators would also tour the country districts of Jamaica in direct competition with the big bands. These sound systems soon took over in the dance halls, because for many people who didn't own a radio, it was the only way to hear the new R&B music. 'Sound systems were also cheaper to employ than a dozen musicians and a 'sound' took no break'. By the middle of the 1950s, Duke Reid and Clement 'Coxsone' Dodd had become two of the premier sound system operators in Jamaica. In 1954 Ken Khouri started Jamaica's first record company 'Federal Records' pressing licenced copies of American recordings, as well as a few local artists. Following his lead in this Duke Reid and Clement 'Coxsone' Dodd both held their own recording sessions, recording Jamaican artists for exclusive play on their own sound systems in the hope of gaining the upper hand in the highly competitive business. Duke Reid recorded Derrick Morgan and Eric Morris for sound system play. Reid, whose set played at 'S-Corner' on Spanish Town Road, even titled Derrick Morgan's first tune 'Lover Boy' as 'S-Corner Rock' when it was played on the sound system as an exclusive acetate recording. Clement Dodd also had his first recording session in this year, recording over a dozen tracks with artists like Alton Ellis and Eddie Perkins, Theophilius Beckford, Beresford Ricketts and Lascelles Perkins. Young Jamaicans during the early sixties had been drawn to the major cities in search of work. They had not found it, and the mood of the ghetto areas had started to deteriorate. These youths or 'Rude boys' as they were called, started forming into political gangs from different ghetto's throughout Kingston. 'Rude boys connected with the so-called 'underworld', a layer of people who lived outside the law, and who had always patronized Jamaican dance music. The 'Rude boys' connection with the dance halls, as well as their style of dancing (which was slower and more menacing) changed the style of music being played from the more up tempo Ska to the slower Rock Steady beat. While many producers have claimed to have pioneered the 'Rock Steady' groove it was Duke Reid who capitalized on it, recording and releasing several tunes by a variety of performers in this new style. The 'Rock Steady' phase lasted little more than a year, and although Duke Reid and 'Coxone' Dodds had dominated Jamaican music for well over a decade, three other producers, Lee 'Scratch' Perry, Bunny Lee and Osbourne Ruddock (all of whom had worked for either Ried or Dodds at sometime) dictated the pace of Jamaican music in the seventies and beyond. Lee 'Scratch' Perry ( or Rainford Hugh Perry) was born in 1936 in Kendal, a small town in the rural parish of Hanover, in the northwest of Jamaica. Perry arrived in Kingston in the late 1950s, and immediately tried to enter the music business. He started working for Coxsone Dodd as a 'gopher, bouncer, spy, talent scout, uncredited songwriter and eventually performer Perry left Coxsone's employ after a disagreement over payment, moving to a new label (Amalgamated) set up by Joel Gibson, where he recorded an early reggae hit called 'People Funny Boy' (which was a verbal attack aimed at his previous employer 'Coxsone".) Perry became well known as a producer and was instrumental in Bob Marley and the Wailers early success. He linked up with Mailey and the Wailers in 1969, beginning a collaboration that resulted in 'definitive versions of some of the Wailers strongest work. Perry, through his work as an artist, producer and engineer, has been one of the main people responsible in shaping the sound of Jamaican music over the last forty years. Osbourne Ruddock (better known as King Tubby) was born in 1941 in Kingston, and worked as an electronics engineer (repairing radios and televisions) though out the 1960s. He owned a sound system (called 'Home Town Hi-Fi') by 1968, and used unique echo and reverb effects which set him aside from the competition. During this time, he also worked for Duke Reid at Treasure Isle Studio as the master cutter, cutting acetates. These 'one off' disc were designed to gain a competitive edge over rival sound system operators via their exclusivity. Ruddock was mixing one of these 'dub' versions when he accidently left out portions of the vocal track from the recording. On listening back, he decided he liked the effect of just having the bed track by itself and played it on his sound system. He took it to a dance and played the vocal, which everybody knew, then played the dub plate of this rhythm track and people couldn't believe it. These new 'versions' of popular songs (combined with the unique effects of his sound system) soon saw Tubby's 'Hometown Hi-fi' become extremely popular. In addition Tubby had started working along side deejay Edwart Beckford, known in the dance hall as U Roy, who had begun answering the vocal sentiments of the singers with his own brand of outrageous jive talk. This vocal style known as 'toasting' is widely accepted as a precursor to 'rapping'. In 1972 Ruddock set up a tiny studio at 18 Bromilly Avenue in Waterhouse (a district in Kingston), he began to experiment with these instrumental recordings using various home built electronic effect devices such as reverb, delay and equalizers, and started to further manipulate the sound of these instrumental songs. He acquired a disc-cutter and a two-track tape machine, and using his home made mixer, started working closely with producers like Bunny Lee and Lee 'Scratch' Perry. Together with Perry he made the stereo dub album 'Blackboard Jungle' in 1973. Joe Gibbs of 'Amalgamated' soon saw the potential of these instrumentals, and instructed Errol Thompson (Gibb's engineer at Randy's 'Studio 17') to start putting instrumental/rhythm versions on B-sides of singles, which he called 'dub'. Tubby bought a four-track mixing board from Dynamic Studio and, with his background in electronics, he was able to specially-customized this equipment to include faders. This enabled him to slide tracks in or out of the mix smoothly, giving Tubby the edge over his rival, Errol Thompson who had to punch tracks in more abruptly, using buttons. In 1974, Tubby started working closely with Bunny Lee, who supplied hundreds of rhythms, and recorded all his hit artists at Ruddock's studio (including Johnnie Clarke and Cornell Campbell). The studio now contained many effect devices, such as an echo delay which Tubby had made by passing a loop of tape over the heads of an old two-track machine. There is general agreement that King Tubby's most prodigious period was during the mid seventies when working with Bunny Lee. With Lee relying on Tubby's experimentation and expertises of the 'dub' re-mix. Improvisation was the order of the day; most of Tubby's dubs were mixed live, with the engineer playing his board like a great jazzman blowing solos on his horn, deconstructing and reinventing the music. While Tubby was not an instrumentalist, when recording Lee's studio band the Aggrovators, he was able to use his mixing desk and primitive effect devices as though they were an instrument, on occasion even physically hitting the spring reverb unit to create a thunderclap sound or putting a brief frequency test tone on deep echo into the mix (later he would use sound effects like sirens and gunshots). It wasn't simply the fact that Tubby and his cohorts used reverb and delay effects in their mixes; the difference with Tubby, was that these effects were used to enliven radically re-mixed versions of songs. Tubby, a skilled and resourceful electronics expert, improvised endlessly with his studio equipment. Tubby started training other engineers (such as 'Prince' Philip Smart,Lloyd James, better known as 'Prince Jammy'and Overton 'Scientist' Brown in the intricacies of dub. In the mid 1970s Jammy would become King Tubby's leading dub engineer at the Waterhouse studio. During his time at the studio he had mixed most of Bunny Lee's

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