The next day Bunny Lee who was a witness to this, told King Tubby that they needed to make some more instrumental tracks, as 'them people love' them, and they dubbed out vocals from 'Ain't Too Proud To Beg' by Slim Smith. The invention was a success, and Ruddy needed to play the instrumental continuously for half an hour to an hour that day. The instrumental record excited the people at the sound system and they started singing lyrics of the vocal track over the instrumental. In 1968, Kingston, Jamaica sound system operator Rudolph 'Ruddy' Redwood went to Duke Reid's Treasure Isle studio to cut a one-off dub plate of The Paragons hit 'On The Beach.' Engineer Byron Smith left the vocal track out by accident, but Redwood kept the result and played it at his next dance with his deejay Wassy toasting over the rhythm. There is usually a distinctly organic feel to the music, even though the effects are electronically created. The many-layered sounds with varying echoes and volumes are often said to create soundscapes, or sound sculptures, drawing attention to the shape and depth of the space between sounds as well as to the sounds themselves. The music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. Another hallmark of the dub sound is the prominent use of bass guitar. The instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. These 'versions' were used as the basis of new songs by rerecording them with new elements. A 'version' is a record with the vocals removed, the alternative cut of a song made for the DJ to 'toast' over (a form of Jamaican rapping). Dub music is characterized by a 'version' or 'double' of an existing song, often instrumental, using B-sides of 45 RPM records and typically emphasizing the drums and bass for a sound popular in local sound systems.
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