The Mic Chatter (MC)

        The Mic Chatter (or MC) is the selector's right hand man (and visa-versa). He is responsible for introducing the records being played (intros), hyping up the crowd ("building vibes"), encouraging crowd participation in singing the popular tunes ("conducting choir"), and requesting that a record be stopped and played again immediately (also referred to as a "forward" or "wheel").  The MC duties at a dance are much like those of an MC at a live stage show - forwarding the records immediately upon indication by the crowd (much like an  MC at a concert requesting an encore).  The crowd requests a forward by screams, shouts, chants, whistles, holding up lit lighters, pounding on the walls, waving hand kerchiefs ("wipers"), lighting fircrackers, using airhorns, or even the firing of guns in the air (called "gun salutes").  The MC may also make announcements of upcoming events, tell jokes, control the crowd in the case of a dispute, and in some cases even make political commentaries.  In a Sound Clash, the MC's role becomes even more crucial. In this setting he/she is responsible for verbally ridiculing his opponents (the other sounds) by taunting them (this practice is called toasting), or telling embarrasing jokes which may be true or not true (also called "drawing cards").  (Tuffie's Note - It is disputed in the biz that one of the following three - Ricky Trooper who selects for Killamanjaro Sound , Pink Panther from Black Kat Sound, and Tony Matterhorn (formerly of King Addies) from Tony Matterhorn Movements - is the best MC in the world.  Rory from Stone Love Movements remains a favorite among the females).

What determines a Superior Sound System?

          So what then determines a superior Sound System?  No one factor, but rather a series many things, make a sound top notch (or "Number One" as we say).  For starters, the sound system must be technically on point (with clean sounding tweeters, clear, solid mid-range, and deep, heavy bass).  The selectors and MCs must be competent in their repective roles as well.  Furthermore, it doesn't hurt to have a strong  following of attractive females and handsome men.  Even the cost of entry and frequency of events a sound puts on in a particular vicinity may affect its popularity (after all, a sound system must remain accessible - especially to the locality from which it originated).  If the sound attracts a lot of celebrities and crews that brandish a lot of new styles (clothes) and latest dances, these can also be important assets.  The quality , quantity, and diversity of dubplates a sound produces is perhaps the ultimate factor in determining which sounds are the best in the biz (generally, the more popular the artist, the better the dubs).  Although all of the above are very important, probably the single most important factor used to determine if a sound is in fact a number one sound, is its performance in a Sound Clash.

What is a Sound Clash?

         A Sound Clash is a musical competition where selectors and MCs from opposing sounds (two or more, but usually two) match wits in selecting, hyping up the crowd, and toasting (ridiculing the other sound's members).  The object of the clash is to "kill" the other sound or sounds, leaving you the winner.  It usually takes place in a large building or open arena (such as a skating rink or lawn), with the sounds set up at opposite sides, facing each other.

The "Early WarmUp"

          At the very beginning of the clash (called the early warm up), the opposing sounds take turns (usually an hour each) to play music for the crowd.  Each turn is called a "segment", and a pair of segments (one from each competing sound) is called a "round."  During these early rounds, little if any reference is made to the clash that awaits later, and the sounds usually acknowledge each other and big up the massives and crews in the dance.  Sounds usally play 45s (songs that are not dubplates) and play out their "regulars" (older dubplates which hae lost some oftheir appeal because everyone already heard them before).   (Tuffie's Note - At this point in the dance, the guys are usually checking out the ladies and visa-versa and there is a lot of dancing.)

Later Segments & Rounds

          In the wee hours of the morning, the clash begins to develop and the sounds now begin to use their dubplates to toast and musically chastize (as the reggae artist Lt. Stichie puts it) each other.  The segments now become shorter (usually each sound gets to play two rounds of half hour each, then two rounds of fifteen minutes each).  In each segment, the selector tries to discredit the songs played by the opposing sound in the previous segment by playing more popular songs or dubplates, or even dubs directly addressing the songs or artists played by the previous sound (called a "counteraction").  In the mean time, the MC is hyping up the crowd by toasting, ridiculing, and making jokes about the opposing sound in order to foster discontent and disapproval for that sound.

          While the selector is dropping tunes on the turntable, the crowd (usually led by the avid sound followers for that sound) is cheering, hollering, showing lighters, beating down the walls, lighting torches, and waving hand kerchiefs ("wipas") in support of, or against the songs and dubplates that are being played.   If the song or dubplate was an extremely good choice, the people will shout for a forward (to have the record played again).  Good dubplates usually get forwarded 3 or 4 times (although I've seen a Bounty Killer dubplate forwarded 9 times).  Sometimes the selector plays only a couple of seconds of a dubplate and that's enough to drive the entire crowd into a frenzy. Tuffie's Note - Interestingly enough, this is usually one part of the dance where you rarely find any males and females interacting because they are all caught up in the competition.

The Climax - "Dub fi Dub"

           After a couple of rounds back and forth of this, the clash finally simmers down to the moment of truth, the Dub fi Dub round (also called "one fi one" or "steel fi steel").  In this final round, the sounds are allowed to play only one dubplate at a time, then the other sound immediately attempts to counteract it with a better choice of dubplate (also called "answer").  This round is very important because if the selector makes a bad choice, it is usually hard to recover, since the opposing selector is going to find a counteraction to answer with immediately.  This can be compared to the longer segments of earlier rounds, where a bad choice can skillfully be covered up by subsequent better selections.

           In Dub Fi Dub, the motto is do or die!, take no prisoners!, and the selector and MC now play the very best and original of the dubplates they possess.  If you slip yu slide, and sooner or later the superior selector causes the weaker to play all of his hardcore dubplates ("play out his belly"), leaving him with no more dubs worth playing (this is called "running a selector out of tunes." ).  The superior sound must now ask the people if the other sound has lost ("Him Dead?!!!)  If the crowd answers "NO!", then the clash continues and the losing sound is offered a chance to regain momentum.  But if the crowd screams "YES!!", then the selector of the winning sound plays a final tune (or "burial" ) to officially do away with ("kill") the losing sound and discredit the selector ("flop him career like dranko (crow) wings"), thus ending the clash.  

Other Possible Outcomes to a Clash

          The "death" of a sound is the climax of the dance, and what everyone has paid there money to see.  However, in a sound clash, this is not always what happens. Sometimes a sound loses in the early rounds (usually the case with an inexperienced sound for example, or one experiencing technical difficulties).  Sometimes a sound quits ("walk out") the clash and the opposing sound wins by default.  At other times, an act of God (or man) causes the clash to end prematurely (for example, rain in an outdoor clash, or the rare case of an eruption of violence ).  In addition, a sound might win a sound clash, but by such a small margin that the victory is considered a "lucky win." In this case, the other sound merely lost, as opposed to being "killed"!  But probably the most interesting ending of a clash is a "draw."  This is where both sounds have played so excellent that the crowd is split 50/50 as to which sound is the victor. In these cases (somewhat rare), the sounds usually agree to a rematch at the same location at some point in the near future.  Both sounds get credit for the dance, although the underdog coming in usually gets more ratings (widely accepted approval).  (Tuffie's Notes - It is important to note that even though a clash can get extremely heated, after the clash the members of the two sounds are still friends everything is back to normal ("everything criss!")...after all, its only a "musical murder.")

Some Interesting Facts

          Here are some interesting facts before I conclude.....The last credible tie in a clash that many acknowledge was King Addies versus Black Kat (from Jamaica) in 1993 at Biltmore Ball Room in Bklyn where the entire world was split 50/50 after the match......... If I was to choose which clash was the biggest clash ever, it would be a very hard decision, as I can think of tens of clashes that fit this description.  Here are a few examples:-

...........1).....Killamanjaro Sound (from Jamaica) versus King Addies (Bklyn's #1 Sound Killa) at Portmore (for sure!) in Jamaica (1995).  New York's number one clash sound, King Addies with Baby Face and Tony Matterhorn, was pitted against Jamaica's undisputed sound killa Killamanjaro with Ricky Trooper and the Crew.  There was widespread  controversy with the world split 50/50 as to who was the better of the two, but this time Killamanjaro put an end to the the confusion (by a slight margin though)

..............OR ...........

...........2).....Killamanjaro Sound versus Silver Hawk (Jamaic) (1987) Dubbed forever as the dance that made the "Hawk" stop fly, this dance is a favorite among sound system tape collectors (cassette freaks) that were not fortunate enough to have been their in person.  Killamanajaro - armed with the likes of Ninja Man, the Late Great Early B, Professor Nuts, Junior Cat, Major Mackeral, Little John, and more - put a murderation on Silver Hawk that has perhaps never been repeated in another sound clash since then!! 

..............OR ...........

...........3).....Saxon Sound (then England's undisputed #1 sound) versus Third World (NYC's Champion Sound back then from the 90's Area in Brooklyn) (1985).  The UK and USA have always been looked upon as the stepchildren of sound system venues, with the main sound venue being Jamaica of course.  However this dance dubbed USA versus UK opened up the US (and New York City in particular) as a legitmate venue for international sound clashes.  This clash was held over a decade ago and is still talked about today.

Records & CDs

          Last but not least are the records , CDs, and dubplates. A sound system may own thousands of vinyl records and CDs.  A good sound system usually may also own very valuable out of print records (such as classics on the Studio One, Treasure Isle, and Coxone labels). Generally, the amount of records a sound has in and of itself is not a reliable indication of how good the sound is (although volume does help if you are playing for a very diverse crowd).  However, in a Sound Clash, the amount and quality of records a sound has becomes very meaningful.  Records and CDs are treated as priced jewels and are handled with the utmost care.  This is becuase once a record or Cd is scratched, this usually renders it useless.  Records are usually carried around in specially designed cartons that cost more than the average suitcase.  (Tuffie's Note - David Rodigan, sound system selector and radio dj from England  (and veteran in the business for over 15 years), boasts one of the most comprehensive reggae record collection in the world.)

Records usually come in 4 formats:

1. "45s" are small records 7 inches in diameter (called 45s because they can only be played at 45rpm) that require an adapter to be played on the turntable.  45s usually contain a song on Side A and the instrumental (also called "rhythm" or "version") or acapella of the song on Side B.  For example, Bounty Killa's 1998 smash hit "Can't Believe Mi Eyes" would be on Side A of the 45 record.  Then the rhythm to the song (called the "Bruck Out") would be on Side B.  The average 45 plays for approximately 5 minutes and costs about US$3.50.  When a producer releases a rhythm, it usually comes on 45s first.  In fact a producer usually releases several 45s featuring diferent artists on the same rhythm.  That way selectors can mix the records  smoothly.  45s is also another name used for any record (song) that is not a dubplate. Often times during a Sound Clash, a selector will say "45 shop lock" indicating that from that point onwards only dubplates are to be played!

2.  "12 Inches" are the larger records (12" diameter) that do not require an adapter to be played on the turntable.  The typical 12 Inch record is also played at 45rpms, but because its larger than a 45, it usally plays for closer to 8 minutes.  12 Inches can feature a song on Side A and the rhythm on Side B just as 45s do.  However the typical coniguration is to have one song and its rhythm on Side A, then another song on the same rhythm again on Side B.  If a 12 Inch features only one song, then it may contain  the remixed or Hip Hop version of the song as well as an acapella.  While almost any 45 can be bought on 12 inch, the reverse is not so.  There are certain songs that are released only as 12 Inch.  Because of this, any comprehensive record collection today that starts out with 45s must inevitably contain 12 Inches while a 12 Inch collection need not contain 45s.

3.  "Albums" are also 12 Inches in diameter but usually feature songs exclusively by one artist (such as Bob Marley's "Legend").  They can also feature a compilation of various songs from a year or era (such as the "Strictly the Best" series).  Albums can only be played at 33rpms and usually plays anywhere from 1/2 an hour to 45 minutes.  

4.  "Dubplates" are specially created records that are tailored to the sound system they are being produced for.  They are larger in size than a 45 but smaller than  a 12 Inch.  However their importance probably surpasses both.  See Dubplates for an in depth explanation.

          Most songs can be purchased on either 45 or 12 Inches, and which ever one a selector decides to buy is determined by his/her own personal taste as well as the availability of the record. 45s generally are easier to mix (their small size allows easier manipulation) and easier to sort (since its a simple one record one tune format).  12 Inches on the other hand are generally more convenient because if you have all the the songs on 12 Inch, you dont have to lug around with an extra 45 box filled with ten 45s for each rhythm you dont have in your 12 Inch crate.   Some selectors also like 12 Inches because of the fact that you get two songs on one record.  Of course you are paying for this advantage since a 12 Inch  typically costs twice as much as a 45.  Still the new trend is for producers to release album compilations featuring all the songs they produced on a certain rhythm.  For Example the 1997 "Showtime" rhythm compliation album features songs by Bounty Killa, Beenie Man, Baby Cham, Frisco Kid, Mr. Easy, Wayne Wonder, Professor Nuts, and more all on one album.  These compilations offer perhaps the best of both worlds.  You can buy two compilation albums and mix them back and forth on two turnatbles with ease, and they only take up the space of two records in the crate.  Yet still there is a drawback.  It is very rare that you will find the rhythm or version in its pure form on a compilation album.  Therefore if you want to play just the rhythm (usuall for remixes) or have artists "chant" (or "deejay") on the rhythm you would probably have to buy the 45 or 12 Inch in addition to the compilation album.

What are Dubplates?

          Dubplates (also called Dubs, Specials, or Samples by laymen - although there are distinct differences among these) are another unique thing about Sound Systems.  A dubplate is basically a recording on which an artist mentions the name of the sound (in effect identifying it as a top sound and pledging to back it or support it). This is also called "bigging up" the sound.  A dubplate usually comes in the form of a n extra thick vinyl record (that looks much like a plate, thus the name) with two songs (dubs) on each side.  Dubplates are unique because of the fact that they are usually renditions of popular hit songs that particular artists has made.  My friend Scrapy D gives this comprehensive example - "Buju [Banton] may do a [dubplate] for Stone Love saying "Stone Love sound like a champion, play like a champion, what a piece a sound, Rory [Stone Love's selector] tell mi where you get it from."  This dubplate is a rendition of Buju's popular hit song "Walk Like a Champion."  The effect is similar to Michael Jackson singing in a Pepsi commercial - that is, a celebrity is associated with the sound, thus giving it increased popularity and credibility!    Because of the difficulty in obtaining these dubplates (cost, locating artists, etc..), the crowd at a dance or Sound Clash holds them in high regards, making them one of the most important assets of a sound system.  (Tuffie's note - Sound Systems have been successful in getting a lot of popular artists out side of reggae music to do dubplates. Some honorable mentions include The Temptations (Bodyguard), Mad Lion(King Addies), The FuGees(King Addies), and Elvis (many sounds have stated this, but who knows....)

Specials and Samples

Now for a point of clarity. Laymen usually confuse the difference between a dubplate, a special, and a sample. A dubplate is a song that any sound can get from an artist, if they can afford it. A special is a song that the artist agrees to make only for one particular sound, thus the saying "No other sound can play this!" A sample is similar to a special, except that it is usually unique and unlike anything any other artist (or the artist himself/herself) has ever done before. (Tuffie's Note - When Beenie Man did his hit song "Maestro" in "opera style" for a Killamanjaro Sound dub months before the song was released, it was considered a "wicked" sample because the "opera style" had not yet become popular in Dancehall Reggae. Of course that sample eventually evolved into his hit single...)

The Role & Cost of Dubplates

           In addition to providing an additional source of income, dubplates also provide a means for artists to return to their roots (especially after going off to sign contracts with international record labels).  In addition, many artists we know and love today got their start by doing dubplates for local sounds (Spragga Benz and Mr. Vegas are two shinning examples). The cost of a dubplate varies, and although I am not permitted to quote the prices that any particular artist charges, lets just say that dubplates from an artist with a No. 1 song on the charts can go for over a $1000.   If you are friends with the artist, you can negotiate a cheaper price, and if you are close enough, possibly get it for FREE!!.  $1000 may seem like an outrageous price at first, but dubplates are an important way for a sound to remain in the top ratings. Furthermore, in a Sound Clash, dubplates are of the essence!   For a more indepth discussion of dubplates, or information on how to obtain them in NYC, you can contact Don One Studios in New York City.   (Tuffie's Note - Reggae Mega-star Beenie Man was performing live on Black Scorpio Sound  more than 10 years before he got his big break.)