Such was his dominance that Trojan Records in the UK was named for his sound and was originally formed in 1967 to release his tunes in the UK. He employed guitarist Lyn Taitt and saxman Tommy McCook to run auditions and arrange material, and recording engineer Byron Smith kept the sound tight, bright, and right.ĭuring the ska era, he cut great sides with Derrick Morgan, The Techniques, and Don Drummond, but Treasure Isle came into its own in the mid-60s, because its slower, gentler sound suited Reid and his musicians’ values. Reid liked his music to groove, be well-arranged, and melodic. He then opened a recording studio on the same premises as his liquor store, keeping the musicians happy with modest amounts of the shop’s product. When the R&B sound began to smooth off into soul in the late 50s, Duke made his own records, launching the Treasure Isle label, in a style that he knew the followers of his sound would like. His system, Duke Reid The Trojan, was well funded, so it was powerful, and Reid would go to America to buy R&B tunes that his rivals had never heard of, putting him at the forefront of his new trade. After leaving the cops, Reid and his wife ran a liquor store, Treasure Isle, while he pursued his passion of running a sound system from the mid-50s onwards. The quintessential sound man turned producer, Duke Reid started his working career as a policeman in Kingston before moving into music and working his way towards becoming one of the world’s best reggae producers: clearly, he was tough enough to handle whatever the reggae business threw at him. Here are the best reggae producers of all time. From helping to sow the seeds of hip-hop to ushering in the “version,” or creating utterly unique music that couldn’t have been made by anyone else, in any other place, the best reggae producers deserve to be held up alongside any other sonic innovators in musical history. They also ensured that Jamaica was recognized as a country capable of creating worldwide stars. But like I said at the beginning, I personally wouldn't want to be without any of them, they all have a use, and all get used.The best reggae producers pioneered new sounds and recording techniques. I wouldn't want you to spend money on my opinions, my feelings, only to find yours differ, for myself it's OK, neither here nor there, best to trial things for ones self, it's the only way. Thinking about it too much spins my head, because they are all supposed to do the same thing, which they do, but. You'll get to know which is better for what, and if you are doing 'X' style or genre, 'C' and 'E' will have it covered. I'd feel pretty safe and confident if I go through all of them, including the non Wave's products and come out the other side with no issues. For me with the different Wave's Plugs, NX, CLA, Germano Studio's, Ocean Way Nashville, while the same purpose in the end for all, they each have their own 'vibe' for want of a different word, and may better suit different styles. It's hard for me to explain, it's hard for me to understand with them all trying to do the same thing. If there's no appreciable leap in quality/authenticity I'll save the money.Well to put it this way, I wouldn't give up any of them. As someone who owns all of the other plugins, do you think there's any advantage in them, or is Waves NX as good as it gets (even though they don't model the 701 specifically and I use the 702 profile)? Here is a quick list of the headphones you may find in VHS (and more to come!):
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