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Hopeton Brown, Jamaica, West Indies Scientist burst onto the reggae scene in the early 70’s with a reckless mixing style that seemed to outdo even King Tubby’s wildest extravaganzas. He began his career as an engineer at King Tubby’s in 1978. Shortly afterwards he became a protege of King Tubby, and swiftly gained a reputation with his unique mixing style. In 1980.
In the 70’s, I started building sound system audio amplifiers. I would then test the amplifier with test instruments to determine how the amplifier was performing. Everything would look normal, but when I played reggae music through the amplifier, it would over heat and the plates of the KT88 would run red, especially when I played a mix from the great King Tubby’s that had subsonic drum and bass frequencies as well as razor sharp high frequencies I would have to re -bais the KT88 and make other changes in order to accommodate reggae’s wide frequency response and high slew rate needs. I noticed when I played other types of music the amplifier would respond normal. I found that to be strange so I used King Tubby’s mixes as a platform to ensure that the amplifiers would not break down under extreme conditions. I was fascinated by his exclusive style of mixing and unique sound effects.
Hopeton Brown, Jamaica, West Indies Scientist burst onto the reggae scene in the early 70’s with a reckless mixing style that seemed to outdo even King Tubby’s wildest extravaganzas. He began his career as an engineer at King Tubby’s in 1978. Shortly afterwards he became a protege of King Tubby, and swiftly gained a reputation with his unique mixing style. In 1980.
In the 70’s, I started building sound system audio amplifiers. I would then test the amplifier with test instruments to determine how the amplifier was performing. Everything would look normal, but when I played reggae music through the amplifier, it would over heat and the plates of the KT88 would run red, especially when I played a mix from the great King Tubby’s that had subsonic drum and bass frequencies as well as razor sharp high frequencies I would have to re -bais the KT88 and make other changes in order to accommodate reggae’s wide frequency response and high slew rate needs. I noticed when I played other types of music the amplifier would respond normal. I found that to be strange so I used King Tubby’s mixes as a platform to ensure that the amplifiers would not break down under extreme conditions. I was fascinated by his exclusive style of mixing and unique sound effects.
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