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Drum and bass
Stylistic origins	Jungle breakbeat hardcore darkcore techno dub reggae fusion[1] electronica breakbeat industrial
Cultural origins	Early-to-mid 1990s, United Kingdom
Derivative forms	Dubstep UK garage grime footwork
Subgenres
Darkstep hardstep jump up liquid funk neurofunk techstep drumfunk technoid drill ‘n’ bass
Fusion genres
breakcore digital hardcore raggacore
Regional scenes
Sambass
Other topics
List of jungle and drum and bass artists drum and bass record labels history of drum and bass junglist breakcore glitch experimental music

Drum and bass (also written as drum & bass or drum’n’bass and commonly abbreviated as D&B, DnB, or D’n’B) is a genre of electronic dance music characterized by fast breakbeats (typically 165–185 beats per minute^[2]) with heavy bass and sub-bass lines,^[3] samples, and synthesizers. The genre grew out of the UK’s rave scene in the 1990s.^[4]

The popularity of drum and bass at its commercial peak ran parallel to several other UK dance styles. A major influence was the original Jamaican dub and reggae sound that influenced jungle’s bass-heavy sound. Another feature of the style is the complex syncopation of the drum tracks’ breakbeat.^[5] Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk (a.k.a. liquid drum and bass), jump up, drumfunk, sambass, and drill ‘n’ bass. Drum and bass has influenced many other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, jazz, rock and pop.

Drum and bass is dominated by a relatively small group of record labels. Major international music labels had shown very little interest in the drum and bass scene until BMG Rights Management acquired RAM in February 2016.^[6] Since then, the genre has seen a significant growth in exposure. Whilst the origin of drum and bass music is in the UK, the genre has evolved considerably with many other prominent fanbases located in all over the world.

History[edit]

In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to new genres in the rave scene including breakbeat hardcore, darkcore, and hardcore jungle, which combined sampled syncopated beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. From as early as 1991, tracks were beginning to strip away some of the heavier sampling and «hardcore noises» and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle (later to become simply jungle), whilst darkcore (with producers such as Goldie, Doc Scott, 4hero, and 2 Bad Mice) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993.

By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK’s hip-hop scene and as a consequence of jungle’s often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.^[7]

As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognisable subgenres such as hardstep, jump up, ragga, techstep, and what was known at the time as intelligent. As more melodic and often jazz-influenced subgenres of drum and bass called atmospheric or intelligent (Blame and Blu Mar Ten) and jazzstep (4Hero, Roni Size) gained mainstream appeal, additional subgenres emerged including techstep in 1996, drawing influence from techno.

The emergence of related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day, drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep,^[8] and producing successful artists including Chase & Status, Netsky, Metrik, and Pendulum.

Musical features[edit]

Drum and bass incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum.^[3][9] The sounds of drum and bass are extremely varied due to the range of influences behind the music. Drum and bass could at one time be defined as a strictly electronic musical genre, with the only «live» element being the DJ’s selection and mixing of records during a set. «Live» drum and bass using electric, electronic and acoustic instruments played by musicians on stage emerged over the ensuing years of the genre’s development.^[10][11][12]

Influences[edit]

A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music.^[13][14] This influence has lessened with time, but is still evident, with many tracks containing ragga vocals.

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis, and even Michael Jackson acted as funk influences on the music.^{[15][16][17][18][19][20]} Jazz pioneer Miles Davis has been named as a possible influence.^[21] Blues artists such as Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention.^[22] One of the most influential tracks in drum and bass history was «Amen Brother» by The Winstons, which contains a drum solo that has since become known as the «Amen break», which, after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.^[5]

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late ’80s, which were hugely influential in drum and bass. One of his more famous basslines (Reese – «Just Want Another Chance», Incognito Records, 1988) was indeed sampled on Renegade’s Terrorist and countless others since, being known simply as the ‘Reese’ bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important to the scene was Carl Craig. The sampled-up jazz break on Craig’s Bug in the Bassbin was also influential on the newly emerging sound. DJs at the Heaven nightclub on «Rage» nights used to play it as fast as their Technics record decks would go, pitching it up in the process.^[23]

By the late 1980s and early 1990s, the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats.^[24][25] Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.^[26]

Clearly, drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called «intelligent drum and bass» and techstep.^{[27][28][29][30]} It still remains a fusion music style.

Some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc’s remix of The Fugees’ «Ready or Not», also known as «Fugee Or Not», was eventually released with the Fugees’ permission after talk of legal action, though ironically, the Fugees’ version infringed Enya’s copyright to an earlier song.^[26] White labels, along with dubplates, played an important part in drum and bass musical culture.

Drum elements[edit]

Sampling[edit]

The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, «Soul Pride», «Scorpio» and «Think (About It)» breaks.^[31][32] Early pioneers often used Akai samplers and sequencers on the Atari ST to create their tracks.^[33]

Synthesis[edit]

Of equal importance is the TR-808 kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland’s classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.^[34]

Rhythm composition[edit]

Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. A more recent commonly used break is the «Tramen», which combines the Amen break, a James Brown funk breakbeat («Tighten Up» or «Samurai» break) and an Alex Reece drum and bass breakbeat.^[35]

The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.^[36]

The complex syncopation of the drum tracks’ breakbeat is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.^[5]

Bass elements[edit]

The genre places great importance on the bassline, in this case a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common.

Atmospheric elements[edit]

Atmospheric pads and samples may be added over the fundamental drum and bass to provide different feels. These have included «light» elements such as ambient pads as found in ambient electronica and samples of jazz and world musics, or «dark» elements such as dissonant pads and sci-fi samples to induce anxiety in the dancer.

Vocal and melodic elements[edit]

Old-school DnB usually included an MC providing vocals. Some styles (such as jazz-influenced DnB) also include melodic instruments soloing over the music.

Tempo[edit]

Drum and bass is usually between 160 and 180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently, some producers have started to once again produce tracks with slower tempos (that is, in the 150-170 bpm range), but the mid-170s tempo is still a hallmark of the drum and bass sound.^[26][37]

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass, but instead may qualify as a drum and bass-influenced breakbeat track.^[38]

Drop[edit]

Many mixing points begin or end with a «drop». The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and breakdown. Sometimes, the drop is used to switch between tracks, layering components of different tracks, as the two records may be simply ambient breakdowns at this point. Some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will «rewind» or «reload» or «lift up» the record by spinning it back and restarting it at the build. The drop is often a key point from the point of view of the dance floor, since the drum breaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to begin dancing.

Live performance[edit]

Drum and bass exhibits a full frequency response which can sometimes only be fully appreciated on sound systems which can handle very low frequencies, including sub-bass frequencies that are often felt more than heard. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.

There are however many albums specifically designed for personal listening. The DJ mix is a particularly popular form of release, with a popular DJ or producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.^[39]

DJ performance[edit]

Although this practice has declined in popularity,^[40] DJs are often accompanied by one or more MCs, drawing on the genre’s roots in hip hop and reggae/ragga.^[41]

MCs do not generally receive the same level of recognition as producer/DJs, and some events are specifically marketed as being MC-free. There are relatively few well-known drum and bass MCs, mainly based in London and Bristol, including Stevie Hyper D (deceased), the Ragga Twins, Dynamite MC, Skibadee(deceased) and MC Tali.^[42]

Live instrument performance[edit]

Many musicians have adapted drum and bass to live performances, which feature instruments such as drums (acoustic or electronic), samplers, synthesizers, turntables, bass (either upright or electric) and guitars (acoustic or electric). Samplers have also been used live by assigning samples to a specific drum pad or key on drum pads or synthesizers. MCs are frequently featured in live performances.

Subgenres[edit]

Smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific subgenres, which have been grouped^[43] into «light» (influenced by ambient, jazz, and world music) and «heavy» (influenced by industrial music, sci-fi, and anxiety) styles, including:

Mainline drum and bass[edit]

• Ragga jungle or ragga drum & bass was inspired by the original ragga jungle style, with influences from reggae and dancehall music.
• Jump-up, appearing in the mid-1990s,^[44] employs heavy and energetic drum and bass,^[44] characterised by robotic and heavy bass sounds. It also is generally less serious and contains more humor than other subgenres.^[45][46]
• Drumstep or halftime is a combination of drum and bass and dubstep, where the beat structure is half time, while the remaining elements still adhere to the usual sub-bass and tempo of drum and bass.^[47][48][49]
• Drill ‘n’ bass (also known as fungle and spunk jazz) incorporates double-time drum and bass with undanceable rhythms, low-brow humor, and ambient vibes of IDM.^[50] The subgenre was developed by Squarepusher and Aphex Twin, whose rapid and irregularly syncopated basslines discouraged dancing.^[51]

Light drum and bass[edit]

• Intelligent drum & bass or intelligent jungle is a smoother style, influenced by ambient music, chillout, jazz and soul music. It was pioneered by such artists as Omni Trio, Peshay, Seba, Blu Mar Ten, Deep Blue, Photek,^[52] LTJ Bukem^[52] and his label Good Looking Records,^[53] and the label Moving Shadow.
  • Atmospheric drum and bass creates a calmer yet more synthetic sound. It was pioneered by London Elektricity and Nu:Tone.^[54]
• Jazzstep, jazzy jungle, jazz & bass or drum & jazz demonstrates heavy influence by jazz. It uses typical jazz scales, rhythms and instrumentation.^[55]
• Liquid funk (or simply «liquid») draws heavily on harmonic and melodic grooves, and samples from funk, jazz, soul, R&B, disco, house and breakbeat.
• Sambass, a Brazilian drum and bass style, incorporates elements from samba, bossa nova and other Latin music styles. Pioneered by artists such as DJ Marky.^[56]

Heavy drum and bass[edit]

• Darkstep is characterised by fast drums and a general dark mood, drawing influences from dark ambient, industrial and hardcore music.
• Techstep is characterised by sci-fi soundscapes^[9] and samples from science fiction culture. Pioneered by artists such as Bad Company UK, Ed Rush, Optical, Dom & Roland, and the label Moving Shadow.^[57][58]
• Neurofunk or neuro is the progression from techstep^[59] incorporating more elements from jazz and funk.
• Hardstep is a harder style which uses gritty basslines and heavy yet simple electronic melodies.^[53]
• Metal & Bass or Bass Metal is a style which specifically uses Heavy Metal guitar riffs.

Genres influenced by drum and bass[edit]

Born around the same time as jungle, breakcore and digital hardcore share many of the elements of drum and bass and to the uninitiated, tracks from the extreme end of drum and bass may sound identical to breakcore thanks to speed, complexity, impact and maximum sonic density combined with musical experimentation. German drum and bass DJ The Panacea is also one of the leading digital hardcore artists. Raggacore resembles a faster version of the ragga-influenced jungle music of the 1990s, similar to breakcore but with more friendly dancehall beats (dancehall itself being a very important influence on drum and bass).^[60] Darkcore, a direct influence on drum and bass, was combined with influences of drum and bass itself leading to the creation of darkstep. There is considerable crossover from the extreme edges of drum and bass, breakcore, darkcore, digital hardcore and raggacore with fluid boundaries.

Intelligent dance music (IDM) is a form of art music based on DnB and other electronic dance musics, exploring their boundaries using ideas from science, technology, contemporary classical music and progressive rock, often creating un-danceable, art gallery style music.

Recently created in the United States is a genre called ghettotech which contains synth and basslines similar to drum and bass.^{[37][61][62][63][64]}

Ecosystem[edit]

Record labels[edit]

Drum and bass is dominated by a small group of record labels. These are mainly run by DJ-producers, such as London Elektricity’s Hospital Records, Andy C and Scott Bourne’s RAM,^[65] Goldie’s Metalheadz, Fabio and Sarah Sandy’s Creative Source Records, Kasra’s Critical Music, DJ Friction’s Shogun Audio,^[66] DJ Fresh’s Breakbeat Kaos,^[67] Ed Rush & Optical’s Virus Recordings, Futurebound’s Viper Recordings and DJ Hype, Pascal, NoCopyrightSounds and formerly DJ Zinc’s True Playaz (known as Real Playaz as of 2006).^[68]

Prior to 2016, the major international music labels such as Sony Music and Universal had shown very little interest in the drum and bass scene, with the exception of some notable signings, including Pendulum’s In Silico LP to Warner. Roni Size’s label played a big, if not the biggest, part in the creation of drum and bass with their dark, baseline sounds. V Recordings also played a large part of the development of drum and bass.^[69]

BMG Rights Management acquired Ram Records in February 2016,^[6] making a strategic investment to help RAM Records (a London-based drum and bass record company co-owned by Andy C and his business partner Scott Bourne). RAM Records has been pushing the boundaries of drum and bass further into the mainstream with artists such as Chase and Status and Sub Focus.^[65]

Now defunct labels, include Rob Playford’s Moving Shadow, running from 1990 until 2007, which played a pivotal role in the nineties drum and bass scene, releasing records by artists such as Omni Trio.

Formats and distribution[edit]

Purchasing[edit]

Originally drum and bass was mostly sold in 12-inch vinyl single format. With the emergence of drum and bass into mainstream music markets, more albums, compilations and DJ mixes started to be sold on CDs. As digital music became more popular, websites focused on electronic music, such as Beatport, began to sell drum and bass in digital format.

Distributors (wholesale)[edit]

The bulk of drum and bass vinyl records and CDs are distributed globally and regionally by a relatively small number of companies such as SRD (Southern Record Distributors), ST Holdings, & Nu Urban Music Limited.^[70]

As of 11 September 2012, Nu Urban ceased trading and RSM Tenon were instructed to assist in convening statutory meetings of members and creditors to appoint a liquidator. This left many labels short on sales, as Nu Urban were one of the main distributors for the vinyl market in the drum and bass scene.^[71]

Regional scenes[edit]

Anglosphere[edit]

Despite its roots in the UK, which is still treated as the «home» of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, New Zealand, South Africa, and the United States.^[72][73]

Continental Europe[edit]

DnB is popular in continental Europe. The Czech Republic currently hosts the largest drum and bass festival in the world, LET IT ROLL, with an annual attendance of approximately 30,000. The genre is also encountered in Slovakia, and local producers in both countries such as A-Cray, Rido, Forbidden Society, L Plus, B-Complex, Changing Faces, Lixx, Dephzac, and Gabanna are becoming well known worldwide. There are several other drum and bass festivals being held each year in these countries, including Trident Festival, Exploration Festival, or Hoofbeats Open Air in the summer, or one-night events such as LET IT ROLL Winter, Imagination Festival, and LET IT ROLL Winter Slovakia in the colder months. During club season, promoters race between each other to organise better events, often resulting in up to ten parties being held during one weekend, with no more than a two-hour travel between them.

The drum and bass scene in Hungary seems to be getting bigger and bigger every year with its «centre» being in Budapest. Drum and bass gigs and parties are being held right on the Danube on the A38 ship, as well in the city centre in Akvárium Klub. For many years now, every major Hungarian music festival has drum and bass artists and DJs playing sets. The main pioneer for the Hungarian DnB scene is Bladerunnaz, a Budapest-based drum and bass crew, which organizes most of the DnB parties in Hungary.

Austria has a large emerging DnB scene with many artists such as Camo & Krooked, Ill.Skillz and mainly the Mainframe record label being all based in or around Vienna. Notable events include «The Hive» and «Beat It» held at Flex.

In Ireland, the biggest scene by far is in Dublin, with a night every Sunday by the Initial Kru mostly showcasing local DJs but occasionally bringing over international guests such as Spirit and Seba. Record label Boey Audio also run events showcasing local, national and international acts, as well as promoters such as Sól Fúd, Ragga Jungle Dublin and Springfield Crew Massive. There are much smaller regional scenes in areas such as Limerick, Cork and Galway which usually have monthly nights.

Latin America[edit]

The most prominent Drum & Bass artists include DJ Marky, XRS and Zardonic.

Brazilian drum and bass is sometimes referred to as «sambass», with a specific samba-influenced style and sound.

Venezuela was home to many crews including ones led by Adam F, Dieselboy, AK1200 and many more. Due to the current political climate, however, most crews and promoters have left the country.

Argentina is home to the +160 crew led by Bad Boy Orange, and Killerdrumz, who organized the first Therapy Sessions events in the region.

Colombia is home to the currently largest Drum & Bass scene, being Bogotá the city where most of the collectives that organize events are located. Among them are RE.SET, La Modular, Silentzcorp, WomandBass, Treesounds, Autonotek and Bogotá Project. Several labels have also emerged there, including I.D Bogotá Music, Inbassion Recs and Singular Files. Bogotá is also the home of the Radikal Styles Festival that brings together local talent and international big names. Other cities where Drum & Bass collectives have emerged include Medellín (Dnb Medellín), Tunja (Bass Animal Recordings) and Zipaquirá (Outbreak Frequencies).

Media presence[edit]

Today, drum and bass is widely promoted using different methods such as video sharing services like YouTube and Dailymotion, blogs, radio, and television, the latter being the most uncommon method. More recently, music networking websites such as SoundCloud and Mixcloud have become powerful tools for artist recognition, providing a vast platform that enables quick responses to new tracks. Record labels have adopted the use of podcasts. Prior to the rise of the internet, drum and bass was commonly broadcast over pirate radio.^[74]

Radio[edit]

The three highest-profile radio stations playing drum and bass shows are BBC Radio 1 with The Drum and Bass Show — formerly with Friction, who was replaced with René LaVice in 2017,^[75] simulcast in the US and Canada on Sirius XM, and DJ Hype on Kiss 100 in London. Fabio and Grooverider previously held a long-standing drum and bass show on Radio 1. Radio 1 also had the One in the Jungle show.

The BBC’s Black music station BBC Radio 1Xtra used to feature the genre heavily, with DJ Bailey (show axed as of 29 August 2012) and Crissy Criss (show axed as of August 2014)^[76] as its advocates. The network also organises a week-long tour of the UK each year called Xtra Bass. London pirate radio stations have been instrumental in the development of drum and bass, with stations such as Kool FM (which continues to broadcast today having done so since 1991),^[77] Origin FM, Don FM (the only drum and bass pirate to have gained a temporary legal licence), Renegade Radio 107.2FM, Rude FM, Wax FM and Eruption among the most influential.

As of 2014, despite higher profile stations such as 1Xtra scaling back their drum and bass specialist coverage, the genre has made its way into UK top 10 charts with drum and bass inspired tracks from artists such as Rudimental and Sigma. Earlier in August 2014, before Crissy Criss’ show was axed, the BBC held a whole prime time evening event dedicated to showcasing drum and bass by allowing four major labels to participate.^[78]

As of November 2014, six drum & bass songs had reached the no.1 spot on the UK’s top 40 chart, since the genre was first being played on the radio, around 1993. The first of these was in 2012. The fact that all six of these songs reached number 1 in only two years shows the increase in popularity and commercialisation of the genre in recent years. The artists who produced these songs are Sigma, Rudimental and DJ Fresh (all had two No.1 hits).

Internet radio[edit]

Internet radio stations, acting in the same light as pirate stations, have also been an instrumental part in promoting drum and bass music; the majority of them funded by listener and artist donations.

Drum and bass was supported by Ministry of Sound radio from the early 2000s until 2014 and later featuring Tuesday shows from labels such as Metalheadz, Fabio & Grooverider, DJ Marky, Viper Recordings, Shogun Audio and Hospital Records. From September 2014, Ministry abruptly dropped all non-mainstream genres to focus on mainstream EDM, causing disappointment amongst the fans of the D&B community.^[79]

North American radio[edit]

In Toronto since 1994, The Prophecy on 89.5 CIUT-FM with Marcus Visionary, DJ Prime and Mr. Brown, is North America’s longest running jungle radio show.^[80]

Album 88.5 (Atlanta) and C89.5fm (Seattle) have shows showcasing drum and bass.

Seattle also has a long-standing electronica show known as Expansions on 90.3 FM KEXP. The rotating DJs include Kid Hops, whose shows are made up mostly of drum and bass. In Columbus, Ohio WCBE 90.5 has a two-hour electronic only showcase, All Mixed Up, Saturday nights at 10 pm. At the same time, WUFM 88.7 plays its Electronic Playground.

Tulsa, Oklahoma’s rock station, 104.5 The Edge, has a two-hour show starting at 10 pm Saturday nights called Edge Essential Mix, mixed by DJ Demko, showcasing electronic and drum and bass style. While the aforementioned shows in Ohio rarely play drum and bass, the latter plays the genre with some frequency.

In Tucson, Arizona, 91.3 FM KXCI has a two-hour electronic show known as Digital Empire, Friday nights at 10 pm (MST). Resident DJ Trinidad showcases various styles of electronica, with the main focus being drum and bass, jungle and dubstep.

In Augusta, Georgia, Zarbizarre of the Cereal Killaz hosts a show called FreQuency on WHHD on Friday nights from 11 pm until 1 am, showcasing drum and bass during the second hour of the show.^[81]

Magazines[edit]

The best-known drum and bass publication was Kmag magazine (formerly called Knowledge Magazine) before it went completely online in August 2009. Although it is still live, after 20 years Kmag ceased updating their site at the end of 2014. Kmag has announced a book to celebrate their 25th anniversary to be published in December 2019. Kmag’s publishing arm, Vision, published Brian Belle-Fortune’s All Crews Journeys Through Jungle Drum & Bass Culture in 2004.

Other publications include the longest-running drum and bass magazine worldwide, ATM Magazine, and Austrian-based Resident. London-based DJ magazine has also been running a widely respected drum and bass reviews page since 1994, written by Alex Constantinides, which many followers refer to when seeking out new releases to investigate. In 2012 he stopped writing the reviews, and they are now contributed by Whisky Kicks.

Books[edit]

• All Crews: Journeys Through Jungle / Drum and Bass Culture (2005) by Brian Belle-Fortune (ISBN 0-9548897-0-3), nonfiction
• «Roots ‘n Future» in Energy Flash (1998) by Simon Reynolds, Picador (ISBN 0-330-35056-0), nonfiction (British edition)
• Generation Ecstasy: Into the World of Techno and Rave Culture (1998) by Simon Reynolds, Routledge. (ISBN 0415923735), nonfiction (American edition)
• Rumble in the Jungle: The Invisible History of Drum and Bass (2002) by Steven Quinn, in: Transformations, No 3 (2002), nonfiction (ISSN 1444-3775) PDF file
• State of Bass: Jungle – The Story So Far (1997) by Martin James, Boxtree (ISBN 0-7522-2323-2), nonfiction
• The Rough Guide to Drum ‘n’ Bass (1999) by Peter Shapiro and Alexix Maryon (ISBN 1-85828-433-3), nonfiction
• King Rat (1998) by China Miéville (ISBN 0-330-37098-7), fiction

Mainstream acceptance[edit]

The earliest mainstream drum and bass releases include Goldie’s album Timeless from 1995. Other early examples include the Mercury Music Prize-winning album New Forms (1997) from Reprazent,^[82] 4hero’s Mercury-nominated Two Pages from 1998, then in the 2000s, Pendulum’s Hold Your Colour in 2005 (the best-selling drum and bass album).

In 2012, drum and bass achieved its first UK No. 1 single «Hot Right Now» by DJ Fresh which was one of the fastest-selling singles of 2012 at the time of release, launching the career of Rita Ora.^[83]

Video games such as Hudson Soft’s Bomberman Hero, Hi-Rez Studios’ Tribes: Ascend, Electronic Arts’ Need for Speed: Undercover, Rockstar Games’ Grand Theft Auto series, and Sony’s Wipeout series from Pure onward have contained drum and bass tracks. Microsoft Studios’ Forza Horizon 2, 3, 4 and 5 feature a Hospital Records radio channel.^[84][85][86]

The genre has some popularity in soundtracks; for instance, «Ultrasonic Sound» was used in The Matrix‘s soundtrack, and the E-Z Rollers’ song «Walk This Land» appeared in the film Lock, Stock and Two Smoking Barrels.^[87] Ganja Kru’s «Super Sharp Shooter» can be heard in the 2006 film Johnny Was.^[88]

The Channel 4 show Skins uses the genre in some episodes, notably in the first series’ third episode, «Jal», where Shy FX and UK Apache’s «Original Nuttah» was played in Fazer’s club.^[89]

See also[edit]

• Dogs on Acid
• List of electronic music genres
• List of jungle and drum and bass artists
• List of jungle and drum and bass emcees

References[edit]

External links[edit]

• bassblog.pro — drum and bass mixes, since 2009
• t.me/bassblogpro — drum and bass mixes on Telegram
• DnbLyrics.com — the biggest collection of drum and bass lyrics
• History of drum & bass — a BBC timeline with track listings, quotes and samples

«DnB» redirects here. For the Norwegian bank, see DNB ASA.

Drum and bass
Stylistic origins	Jungle breakbeat hardcore darkcore techno dub reggae fusion[1] electronica breakbeat industrial
Cultural origins	Early-to-mid 1990s, United Kingdom
Derivative forms	Dubstep UK garage grime footwork
Subgenres
Darkstep hardstep jump up liquid funk neurofunk techstep drumfunk technoid drill ‘n’ bass
Fusion genres
breakcore digital hardcore raggacore
Regional scenes
Sambass
Other topics
List of jungle and drum and bass artists drum and bass record labels history of drum and bass junglist breakcore glitch experimental music

Drum and bass (also written as drum & bass or drum’n’bass and commonly abbreviated as D&B, DnB, or D’n’B) is a genre of electronic dance music characterized by fast breakbeats (typically 165–185 beats per minute^[2]) with heavy bass and sub-bass lines,^[3] samples, and synthesizers. The genre grew out of the UK’s rave scene in the 1990s.^[4]

The popularity of drum and bass at its commercial peak ran parallel to several other UK dance styles. A major influence was the original Jamaican dub and reggae sound that influenced jungle’s bass-heavy sound. Another feature of the style is the complex syncopation of the drum tracks’ breakbeat.^[5] Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk (a.k.a. liquid drum and bass), jump up, drumfunk, sambass, and drill ‘n’ bass. Drum and bass has influenced many other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, jazz, rock and pop.

Drum and bass is dominated by a relatively small group of record labels. Major international music labels had shown very little interest in the drum and bass scene until BMG Rights Management acquired RAM in February 2016.^[6] Since then, the genre has seen a significant growth in exposure. Whilst the origin of drum and bass music is in the UK, the genre has evolved considerably with many other prominent fanbases located in all over the world.

History[edit]

In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to new genres in the rave scene including breakbeat hardcore, darkcore, and hardcore jungle, which combined sampled syncopated beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. From as early as 1991, tracks were beginning to strip away some of the heavier sampling and «hardcore noises» and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle (later to become simply jungle), whilst darkcore (with producers such as Goldie, Doc Scott, 4hero, and 2 Bad Mice) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993.

By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK’s hip-hop scene and as a consequence of jungle’s often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.^[7]

As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognisable subgenres such as hardstep, jump up, ragga, techstep, and what was known at the time as intelligent. As more melodic and often jazz-influenced subgenres of drum and bass called atmospheric or intelligent (Blame and Blu Mar Ten) and jazzstep (4Hero, Roni Size) gained mainstream appeal, additional subgenres emerged including techstep in 1996, drawing influence from techno.

The emergence of related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day, drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep,^[8] and producing successful artists including Chase & Status, Netsky, Metrik, and Pendulum.

Musical features[edit]

Drum and bass incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum.^[3][9] The sounds of drum and bass are extremely varied due to the range of influences behind the music. Drum and bass could at one time be defined as a strictly electronic musical genre, with the only «live» element being the DJ’s selection and mixing of records during a set. «Live» drum and bass using electric, electronic and acoustic instruments played by musicians on stage emerged over the ensuing years of the genre’s development.^[10][11][12]

Influences[edit]

A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music.^[13][14] This influence has lessened with time, but is still evident, with many tracks containing ragga vocals.

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis, and even Michael Jackson acted as funk influences on the music.^{[15][16][17][18][19][20]} Jazz pioneer Miles Davis has been named as a possible influence.^[21] Blues artists such as Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B.B King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention.^[22] One of the most influential tracks in drum and bass history was «Amen Brother» by The Winstons, which contains a drum solo that has since become known as the «Amen break», which, after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.^[5]

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late ’80s, which were hugely influential in drum and bass. One of his more famous basslines (Reese – «Just Want Another Chance», Incognito Records, 1988) was indeed sampled on Renegade’s Terrorist and countless others since, being known simply as the ‘Reese’ bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important to the scene was Carl Craig. The sampled-up jazz break on Craig’s Bug in the Bassbin was also influential on the newly emerging sound. DJs at the Heaven nightclub on «Rage» nights used to play it as fast as their Technics record decks would go, pitching it up in the process.^[23]

By the late 1980s and early 1990s, the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats.^[24][25] Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.^[26]

Clearly, drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called «intelligent drum and bass» and techstep.^{[27][28][29][30]} It still remains a fusion music style.

Some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc’s remix of The Fugees’ «Ready or Not», also known as «Fugee Or Not», was eventually released with the Fugees’ permission after talk of legal action, though ironically, the Fugees’ version infringed Enya’s copyright to an earlier song.^[26] White labels, along with dubplates, played an important part in drum and bass musical culture.

Drum elements[edit]

Sampling[edit]

The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, «Soul Pride», «Scorpio» and «Think (About It)» breaks.^[31][32] Early pioneers often used Akai samplers and sequencers on the Atari ST to create their tracks.^[33]

Synthesis[edit]

Of equal importance is the TR-808 kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland’s classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.^[34]

Rhythm composition[edit]

Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. A more recent commonly used break is the «Tramen», which combines the Amen break, a James Brown funk breakbeat («Tighten Up» or «Samurai» break) and an Alex Reece drum and bass breakbeat.^[35]

The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.^[36]

The complex syncopation of the drum tracks’ breakbeat is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.^[5]

Bass elements[edit]

The genre places great importance on the bassline, in this case a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common.

Atmospheric elements[edit]

Atmospheric pads and samples may be added over the fundamental drum and bass to provide different feels. These have included «light» elements such as ambient pads as found in ambient electronica and samples of jazz and world musics, or «dark» elements such as dissonant pads and sci-fi samples to induce anxiety in the dancer.

Vocal and melodic elements[edit]

Old-school DnB usually included an MC providing vocals. Some styles (such as jazz-influenced DnB) also include melodic instruments soloing over the music.

Tempo[edit]

Drum and bass is usually between 160 and 180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently, some producers have started to once again produce tracks with slower tempos (that is, in the 150-170 bpm range), but the mid-170s tempo is still a hallmark of the drum and bass sound.^[26][37]

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass, but instead may qualify as a drum and bass-influenced breakbeat track.^[38]

Drop[edit]

Many mixing points begin or end with a «drop». The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and breakdown. Sometimes, the drop is used to switch between tracks, layering components of different tracks, as the two records may be simply ambient breakdowns at this point. Some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will «rewind» or «reload» or «lift up» the record by spinning it back and restarting it at the build. The drop is often a key point from the point of view of the dance floor, since the drum breaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to begin dancing.

Live performance[edit]

Drum and bass exhibits a full frequency response which can sometimes only be fully appreciated on sound systems which can handle very low frequencies, including sub-bass frequencies that are often felt more than heard. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.

There are however many albums specifically designed for personal listening. The DJ mix is a particularly popular form of release, with a popular DJ or producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.^[39]

DJ performance[edit]

Although this practice has declined in popularity,^[40] DJs are often accompanied by one or more MCs, drawing on the genre’s roots in hip hop and reggae/ragga.^[41]

MCs do not generally receive the same level of recognition as producer/DJs, and some events are specifically marketed as being MC-free. There are relatively few well-known drum and bass MCs, mainly based in London and Bristol, including Stevie Hyper D (deceased), the Ragga Twins, Dynamite MC, Skibadee(deceased) and MC Tali.^[42]

Live instrument performance[edit]

Many musicians have adapted drum and bass to live performances, which feature instruments such as drums (acoustic or electronic), samplers, synthesizers, turntables, bass (either upright or electric) and guitars (acoustic or electric). Samplers have also been used live by assigning samples to a specific drum pad or key on drum pads or synthesizers. MCs are frequently featured in live performances.

Subgenres[edit]

Smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific subgenres, which have been grouped^[43] into «light» (influenced by ambient, jazz, and world music) and «heavy» (influenced by industrial music, sci-fi, and anxiety) styles, including:

Mainline drum and bass[edit]

• Ragga jungle or ragga drum & bass was inspired by the original ragga jungle style, with influences from reggae and dancehall music.
• Jump-up, appearing in the mid-1990s,^[44] employs heavy and energetic drum and bass,^[44] characterised by robotic and heavy bass sounds. It also is generally less serious and contains more humor than other subgenres.^[45][46]
• Drumstep or halftime is a combination of drum and bass and dubstep, where the beat structure is half time, while the remaining elements still adhere to the usual sub-bass and tempo of drum and bass.^[47][48][49]
• Drill ‘n’ bass (also known as fungle and spunk jazz) incorporates double-time drum and bass with undanceable rhythms, low-brow humor, and ambient vibes of IDM.^[50] The subgenre was developed by Squarepusher and Aphex Twin, whose rapid and irregularly syncopated basslines discouraged dancing.^[51]

Light drum and bass[edit]

• Intelligent drum & bass or intelligent jungle is a smoother style, influenced by ambient music, chillout, jazz and soul music. It was pioneered by such artists as Omni Trio, Peshay, Seba, Blu Mar Ten, Deep Blue, Photek,^[52] LTJ Bukem^[52] and his label Good Looking Records,^[53] and the label Moving Shadow.
  • Atmospheric drum and bass creates a calmer yet more synthetic sound. It was pioneered by London Elektricity and Nu:Tone.^[54]
• Jazzstep, jazzy jungle, jazz & bass or drum & jazz demonstrates heavy influence by jazz. It uses typical jazz scales, rhythms and instrumentation.^[55]
• Liquid funk (or simply «liquid») draws heavily on harmonic and melodic grooves, and samples from funk, jazz, soul, R&B, disco, house and breakbeat.
• Sambass, a Brazilian drum and bass style, incorporates elements from samba, bossa nova and other Latin music styles. Pioneered by artists such as DJ Marky.^[56]

Heavy drum and bass[edit]

• Darkstep is characterised by fast drums and a general dark mood, drawing influences from dark ambient, industrial and hardcore music.
• Techstep is characterised by sci-fi soundscapes^[9] and samples from science fiction culture. Pioneered by artists such as Bad Company UK, Ed Rush, Optical, Dom & Roland, and the label Moving Shadow.^[57][58]
• Neurofunk or neuro is the progression from techstep^[59] incorporating more elements from jazz and funk.
• Hardstep is a harder style which uses gritty basslines and heavy yet simple electronic melodies.^[53]
• Metal & Bass or Bass Metal is a style which specifically uses Heavy Metal guitar riffs.

Genres influenced by drum and bass[edit]

Born around the same time as jungle, breakcore and digital hardcore share many of the elements of drum and bass and to the uninitiated, tracks from the extreme end of drum and bass may sound identical to breakcore thanks to speed, complexity, impact and maximum sonic density combined with musical experimentation. German drum and bass DJ The Panacea is also one of the leading digital hardcore artists. Raggacore resembles a faster version of the ragga-influenced jungle music of the 1990s, similar to breakcore but with more friendly dancehall beats (dancehall itself being a very important influence on drum and bass).^[60] Darkcore, a direct influence on drum and bass, was combined with influences of drum and bass itself leading to the creation of darkstep. There is considerable crossover from the extreme edges of drum and bass, breakcore, darkcore, digital hardcore and raggacore with fluid boundaries.

Intelligent dance music (IDM) is a form of art music based on DnB and other electronic dance musics, exploring their boundaries using ideas from science, technology, contemporary classical music and progressive rock, often creating un-danceable, art gallery style music.

Recently created in the United States is a genre called ghettotech which contains synth and basslines similar to drum and bass.^{[37][61][62][63][64]}

Ecosystem[edit]

Record labels[edit]

Drum and bass is dominated by a small group of record labels. These are mainly run by DJ-producers, such as London Elektricity’s Hospital Records, Andy C and Scott Bourne’s RAM,^[65] Goldie’s Metalheadz, Fabio and Sarah Sandy’s Creative Source Records, Kasra’s Critical Music, DJ Friction’s Shogun Audio,^[66] DJ Fresh’s Breakbeat Kaos,^[67] Ed Rush & Optical’s Virus Recordings, Futurebound’s Viper Recordings and DJ Hype, Pascal, NoCopyrightSounds and formerly DJ Zinc’s True Playaz (known as Real Playaz as of 2006).^[68]

Prior to 2016, the major international music labels such as Sony Music and Universal had shown very little interest in the drum and bass scene, with the exception of some notable signings, including Pendulum’s In Silico LP to Warner. Roni Size’s label played a big, if not the biggest, part in the creation of drum and bass with their dark, baseline sounds. V Recordings also played a large part of the development of drum and bass.^[69]

BMG Rights Management acquired Ram Records in February 2016,^[6] making a strategic investment to help RAM Records (a London-based drum and bass record company co-owned by Andy C and his business partner Scott Bourne). RAM Records has been pushing the boundaries of drum and bass further into the mainstream with artists such as Chase and Status and Sub Focus.^[65]

Now defunct labels, include Rob Playford’s Moving Shadow, running from 1990 until 2007, which played a pivotal role in the nineties drum and bass scene, releasing records by artists such as Omni Trio.

Formats and distribution[edit]

Purchasing[edit]

Originally drum and bass was mostly sold in 12-inch vinyl single format. With the emergence of drum and bass into mainstream music markets, more albums, compilations and DJ mixes started to be sold on CDs. As digital music became more popular, websites focused on electronic music, such as Beatport, began to sell drum and bass in digital format.

Distributors (wholesale)[edit]

The bulk of drum and bass vinyl records and CDs are distributed globally and regionally by a relatively small number of companies such as SRD (Southern Record Distributors), ST Holdings, & Nu Urban Music Limited.^[70]

As of 11 September 2012, Nu Urban ceased trading and RSM Tenon were instructed to assist in convening statutory meetings of members and creditors to appoint a liquidator. This left many labels short on sales, as Nu Urban were one of the main distributors for the vinyl market in the drum and bass scene.^[71]

Regional scenes[edit]

Anglosphere[edit]

Despite its roots in the UK, which is still treated as the «home» of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, New Zealand, South Africa, and the United States.^[72][73]

Continental Europe[edit]

DnB is popular in continental Europe. The Czech Republic currently hosts the largest drum and bass festival in the world, LET IT ROLL, with an annual attendance of approximately 30,000. The genre is also encountered in Slovakia, and local producers in both countries such as A-Cray, Rido, Forbidden Society, L Plus, B-Complex, Changing Faces, Lixx, Dephzac, and Gabanna are becoming well known worldwide. There are several other drum and bass festivals being held each year in these countries, including Trident Festival, Exploration Festival, or Hoofbeats Open Air in the summer, or one-night events such as LET IT ROLL Winter, Imagination Festival, and LET IT ROLL Winter Slovakia in the colder months. During club season, promoters race between each other to organise better events, often resulting in up to ten parties being held during one weekend, with no more than a two-hour travel between them.

The drum and bass scene in Hungary seems to be getting bigger and bigger every year with its «centre» being in Budapest. Drum and bass gigs and parties are being held right on the Danube on the A38 ship, as well in the city centre in Akvárium Klub. For many years now, every major Hungarian music festival has drum and bass artists and DJs playing sets. The main pioneer for the Hungarian DnB scene is Bladerunnaz, a Budapest-based drum and bass crew, which organizes most of the DnB parties in Hungary.

Austria has a large emerging DnB scene with many artists such as Camo & Krooked, Ill.Skillz and mainly the Mainframe record label being all based in or around Vienna. Notable events include «The Hive» and «Beat It» held at Flex.

In Ireland, the biggest scene by far is in Dublin, with a night every Sunday by the Initial Kru mostly showcasing local DJs but occasionally bringing over international guests such as Spirit and Seba. Record label Boey Audio also run events showcasing local, national and international acts, as well as promoters such as Sól Fúd, Ragga Jungle Dublin and Springfield Crew Massive. There are much smaller regional scenes in areas such as Limerick, Cork and Galway which usually have monthly nights.

Latin America[edit]

The most prominent Drum & Bass artists include DJ Marky, XRS and Zardonic.

Brazilian drum and bass is sometimes referred to as «sambass», with a specific samba-influenced style and sound.

Venezuela was home to many crews including ones led by Adam F, Dieselboy, AK1200 and many more. Due to the current political climate, however, most crews and promoters have left the country.

Argentina is home to the +160 crew led by Bad Boy Orange, and Killerdrumz, who organized the first Therapy Sessions events in the region.

Colombia is home to the currently largest Drum & Bass scene, being Bogotá the city where most of the collectives that organize events are located. Among them are RE.SET, La Modular, Silentzcorp, WomandBass, Treesounds, Autonotek and Bogotá Project. Several labels have also emerged there, including I.D Bogotá Music, Inbassion Recs and Singular Files. Bogotá is also the home of the Radikal Styles Festival that brings together local talent and international big names. Other cities where Drum & Bass collectives have emerged include Medellín (Dnb Medellín), Tunja (Bass Animal Recordings) and Zipaquirá (Outbreak Frequencies).

Media presence[edit]

Today, drum and bass is widely promoted using different methods such as video sharing services like YouTube and Dailymotion, blogs, radio, and television, the latter being the most uncommon method. More recently, music networking websites such as SoundCloud and Mixcloud have become powerful tools for artist recognition, providing a vast platform that enables quick responses to new tracks. Record labels have adopted the use of podcasts. Prior to the rise of the internet, drum and bass was commonly broadcast over pirate radio.^[74]

Radio[edit]

The three highest-profile radio stations playing drum and bass shows are BBC Radio 1 with The Drum and Bass Show — formerly with Friction, who was replaced with René LaVice in 2017,^[75] simulcast in the US and Canada on Sirius XM, and DJ Hype on Kiss 100 in London. Fabio and Grooverider previously held a long-standing drum and bass show on Radio 1. Radio 1 also had the One in the Jungle show.

The BBC’s Black music station BBC Radio 1Xtra used to feature the genre heavily, with DJ Bailey (show axed as of 29 August 2012) and Crissy Criss (show axed as of August 2014)^[76] as its advocates. The network also organises a week-long tour of the UK each year called Xtra Bass. London pirate radio stations have been instrumental in the development of drum and bass, with stations such as Kool FM (which continues to broadcast today having done so since 1991),^[77] Origin FM, Don FM (the only drum and bass pirate to have gained a temporary legal licence), Renegade Radio 107.2FM, Rude FM, Wax FM and Eruption among the most influential.

As of 2014, despite higher profile stations such as 1Xtra scaling back their drum and bass specialist coverage, the genre has made its way into UK top 10 charts with drum and bass inspired tracks from artists such as Rudimental and Sigma. Earlier in August 2014, before Crissy Criss’ show was axed, the BBC held a whole prime time evening event dedicated to showcasing drum and bass by allowing four major labels to participate.^[78]

As of November 2014, six drum & bass songs had reached the no.1 spot on the UK’s top 40 chart, since the genre was first being played on the radio, around 1993. The first of these was in 2012. The fact that all six of these songs reached number 1 in only two years shows the increase in popularity and commercialisation of the genre in recent years. The artists who produced these songs are Sigma, Rudimental and DJ Fresh (all had two No.1 hits).

Internet radio[edit]

Internet radio stations, acting in the same light as pirate stations, have also been an instrumental part in promoting drum and bass music; the majority of them funded by listener and artist donations.

Drum and bass was supported by Ministry of Sound radio from the early 2000s until 2014 and later featuring Tuesday shows from labels such as Metalheadz, Fabio & Grooverider, DJ Marky, Viper Recordings, Shogun Audio and Hospital Records. From September 2014, Ministry abruptly dropped all non-mainstream genres to focus on mainstream EDM, causing disappointment amongst the fans of the D&B community.^[79]

North American radio[edit]

In Toronto since 1994, The Prophecy on 89.5 CIUT-FM with Marcus Visionary, DJ Prime and Mr. Brown, is North America’s longest running jungle radio show.^[80]

Album 88.5 (Atlanta) and C89.5fm (Seattle) have shows showcasing drum and bass.

Seattle also has a long-standing electronica show known as Expansions on 90.3 FM KEXP. The rotating DJs include Kid Hops, whose shows are made up mostly of drum and bass. In Columbus, Ohio WCBE 90.5 has a two-hour electronic only showcase, All Mixed Up, Saturday nights at 10 pm. At the same time, WUFM 88.7 plays its Electronic Playground.

Tulsa, Oklahoma’s rock station, 104.5 The Edge, has a two-hour show starting at 10 pm Saturday nights called Edge Essential Mix, mixed by DJ Demko, showcasing electronic and drum and bass style. While the aforementioned shows in Ohio rarely play drum and bass, the latter plays the genre with some frequency.

In Tucson, Arizona, 91.3 FM KXCI has a two-hour electronic show known as Digital Empire, Friday nights at 10 pm (MST). Resident DJ Trinidad showcases various styles of electronica, with the main focus being drum and bass, jungle and dubstep.

In Augusta, Georgia, Zarbizarre of the Cereal Killaz hosts a show called FreQuency on WHHD on Friday nights from 11 pm until 1 am, showcasing drum and bass during the second hour of the show.^[81]

Magazines[edit]

The best-known drum and bass publication was Kmag magazine (formerly called Knowledge Magazine) before it went completely online in August 2009. Although it is still live, after 20 years Kmag ceased updating their site at the end of 2014. Kmag has announced a book to celebrate their 25th anniversary to be published in December 2019. Kmag’s publishing arm, Vision, published Brian Belle-Fortune’s All Crews Journeys Through Jungle Drum & Bass Culture in 2004.

Other publications include the longest-running drum and bass magazine worldwide, ATM Magazine, and Austrian-based Resident. London-based DJ magazine has also been running a widely respected drum and bass reviews page since 1994, written by Alex Constantinides, which many followers refer to when seeking out new releases to investigate. In 2012 he stopped writing the reviews, and they are now contributed by Whisky Kicks.

Books[edit]

• All Crews: Journeys Through Jungle / Drum and Bass Culture (2005) by Brian Belle-Fortune (ISBN 0-9548897-0-3), nonfiction
• «Roots ‘n Future» in Energy Flash (1998) by Simon Reynolds, Picador (ISBN 0-330-35056-0), nonfiction (British edition)
• Generation Ecstasy: Into the World of Techno and Rave Culture (1998) by Simon Reynolds, Routledge. (ISBN 0415923735), nonfiction (American edition)
• Rumble in the Jungle: The Invisible History of Drum and Bass (2002) by Steven Quinn, in: Transformations, No 3 (2002), nonfiction (ISSN 1444-3775) PDF file
• State of Bass: Jungle – The Story So Far (1997) by Martin James, Boxtree (ISBN 0-7522-2323-2), nonfiction
• The Rough Guide to Drum ‘n’ Bass (1999) by Peter Shapiro and Alexix Maryon (ISBN 1-85828-433-3), nonfiction
• King Rat (1998) by China Miéville (ISBN 0-330-37098-7), fiction

Mainstream acceptance[edit]

The earliest mainstream drum and bass releases include Goldie’s album Timeless from 1995. Other early examples include the Mercury Music Prize-winning album New Forms (1997) from Reprazent,^[82] 4hero’s Mercury-nominated Two Pages from 1998, then in the 2000s, Pendulum’s Hold Your Colour in 2005 (the best-selling drum and bass album).

In 2012, drum and bass achieved its first UK No. 1 single «Hot Right Now» by DJ Fresh which was one of the fastest-selling singles of 2012 at the time of release, launching the career of Rita Ora.^[83]

Video games such as Hudson Soft’s Bomberman Hero, Hi-Rez Studios’ Tribes: Ascend, Electronic Arts’ Need for Speed: Undercover, Rockstar Games’ Grand Theft Auto series, and Sony’s Wipeout series from Pure onward have contained drum and bass tracks. Microsoft Studios’ Forza Horizon 2, 3, 4 and 5 feature a Hospital Records radio channel.^[84][85][86]

The genre has some popularity in soundtracks; for instance, «Ultrasonic Sound» was used in The Matrix‘s soundtrack, and the E-Z Rollers’ song «Walk This Land» appeared in the film Lock, Stock and Two Smoking Barrels.^[87] Ganja Kru’s «Super Sharp Shooter» can be heard in the 2006 film Johnny Was.^[88]

The Channel 4 show Skins uses the genre in some episodes, notably in the first series’ third episode, «Jal», where Shy FX and UK Apache’s «Original Nuttah» was played in Fazer’s club.^[89]

See also[edit]

• Dogs on Acid
• List of electronic music genres
• List of jungle and drum and bass artists
• List of jungle and drum and bass emcees

References[edit]

External links[edit]

• bassblog.pro — drum and bass mixes, since 2009
• t.me/bassblogpro — drum and bass mixes on Telegram
• DnbLyrics.com — the biggest collection of drum and bass lyrics
• History of drum & bass — a BBC timeline with track listings, quotes and samples

̈ɪbeɪs I
1. сущ.
1) основа, основание;
базис to establish, set up a base ≈ создать базу advanced, forward, main base ≈ главное основание, главная причина Henry’s charter was at once welcomed as a base for the needed reforms. ≈ Генрихова хартия была сразу единодушно воспринята как основа столь необходимых реформ.
2) база;
опорный пункт air, air-force base ≈ военно-воздушная база army, military base ≈ военная база missile base ≈ ракетная база naval base ≈ морская база
3) спорт место старта
4) «дом» (в играх) ;
база (в бейсболе) get to first base
5) подножие( горы)
6) архит. пьедестал, цоколь;
фундамент
7) хим. основание
грам. корень;
основа
9) полигр. ножка литеры;
колодка для клише;
фацетная доска
10) тех. база (один из тре х электродов транзистора)
11) геральдика нижняя часть щита
12) геом. основание
13) матем. основание (логарифма, степени, системы счисления) The base of our system of numeration is
10. ≈ Мы используем систему счисления с основанием 10, мы используем десятеричную систему счисления. ∙ change one’s base power base be off one’s base
2. гл.
1) базировать, размещать войска The American troops were based in Korea. ≈ Американские войска были расположены в Корее.
2) базировать, обосновывать;
основывать, строить base on base upon base oneself upon smth. Syn: found, ground II
1. прил.
1) низкий в моральном или социальном смысле а) низкий;
низменный, подлый, грязный Foolish sinners will submit to the basest servitude, and be attendants of swine. ≈ Неразумным грешникам достанется самая грязная работа, надзирать за свиньями в хлеву (комментарии Бекстера к евангелию от Луки) Syn: mean, low, ignoble б) низкого социального статуса или происхождения в) незаконнорожденный г) архаич. несвободный
2) о качестве металлов и сплавов а) неблагородный, простой, окисляющийся( о металлах) of base alloy б) смешанный( о сплаве благородного металла с неблагородным) ;
поддельный (сплавы благородных металлов с неблагородными использовались фальшивомонетчиками) They searched his pockets, and found all his copper was base. ≈ Они обыскали его и выяснили, что все его медные монеты были поддельные. base coin
3) юр. условный, неокончательно установленный
4) исходный, начальный, первоначальный base period
5) низкого роста, небольшого размера A crowd of monks with base foreheads. ≈ Толпа низколобых монахов.
6) низкокачественный, дрянной base Latin
2. гл., уст.
1) принижать;
ниспровергать, повергать ниц To base at the feet of his conqueror the crown which he came unjustly by. ≈ Положить к ногам своего победителя корону, которая досталась ему не по праву.
2) понижать в звании;
унижать Love weakens strength, and bases honour. ≈ Любовь лишает сил, и к тому же унижает.
3) разбавлять благородный металл каким-либо другим( в сплаве) III прил.;
уст.;
= bass III

base уст. = bass ~ база;
опорный пункт ~ база ~ базировать, основывать;
to base oneself( upon smth.) опираться( на что-л.) ~ базис ~ «дом» (в играх) ;
игра в бары (тж. prisoner’s base) ~ закладывать основание ~ исходный;
base period( year) исходный период( год) ~ грам. корень (слова) ~ спорт. место старта ~ неблагородный, простой, окисляющийся (о металлах) ;
of base alloy низкопробный ~ низкий;
низменный, подлый ~ полигр. ножка литеры;
колодка для клише;
фацетная доска ~ основа, основание;
базис ~ основа ~ хим. основание ~ основание ~ основание системы счисления ~ основывать ~ панель ~ подложка ~ подножие (горы) ~ архит. пьедестал, цоколь;
фундамент ~ юр. условный, неокончательно установленный

~ базировать, основывать;
to base oneself (upon smth.) опираться (на что-л.)

~ исходный;
base period (year) исходный период (год) period: base ~ базисный период

to be off one’s ~ амер. разг. быть не в своем уме to be off one’s ~ амер. разг. нелепо заблуждаться (about — в чем-л.)

knowledge ~ вчт. база знаний knowledge ~ база знаний

monetary ~ денежная база monetary ~ монетарная база

number ~ вчт. основание системы счисления

~ неблагородный, простой, окисляющийся (о металлах) ;
of base alloy низкопробный

rate ~ база для исчисления тарифа

bass
→

бас

басистый

басовый

лыко

Произношение drum and bass (драм анд бэйс) :

dɹˈʌm and bˈeɪs

Ваш броузер не поддерживает аудио

драм анд бэйс транскрипция – 8 результатов перевода

Well, I’ve got a lot on one demo from the band days, but they’re about ten years old, so if I put them out,

I’d have to lay down some drum and bass shit on ’em.

Sample shit.

Ну, было записано много на демке когда ещё была группа, но им уже больше десяти лет, так что я их выкинул,

Я бы наложил туда всякого драм-н-бэйсового дерьма.

Всякого сэмплового дерьма.

Let’s set some ground rules.

(# Drum and bass)

(Both scream)

— Что это?

Животные приходят и уходят, а дороги навсегда. За Тормака и за меня!

— Можете просто подписать, пожалуйста?

Thing is, I find you two repulsive.

(# Drum and bass)

Now listen here, you icy bastard.

— Да. Можешь открыть эту дверь? — А, конечно.

Стой, а где моя плата?

Вот, пожалуйста.

Too ripe?

It was like a supply teacher at a drum and bass convention.

What?

Слишком зрелыми?

Ты был как заместитель учителя на съезде любителей стиля drumbass.

Что?

Do you play?

Just Piano, Guitar, Trumpet, Drum and Bass.

He`s pure gold.

А ты играешь?

Только на пианино, гитаре, трубе и ударных.

Он само совершенство.

So the drum is the heartbeat, and the bass, it is the backbone.

Well, I think the drum and bass… play a very important part in Bob’s music.

It was, you know, «Family Man» and Carlton… two brothers. They have their own style.

Ударные — это стук сердца, а бас — хребет.

Ударные и бас очень важны в музыке Боба.

На басу и ударных играли два брата — Семьянин и Карлтон.

Yeah, well, there are certain Mongol horde similarities but Gloria’s right — I don’t think they’re yurt people.

I think all those yurts are being used up in the Drum and Bass Festival near Stafford anyway.

Could always try the motel.

Ну, определенное сходство с монгольскими ордами есть, но Глория права — не думаю, что они жители юрты.

Думаю, эти юрты используются только на фестивале «Барабаны и Бас» в Стаффорде.

Всегда можно попробовать мотель.

You could try the yurt place.

Something about a Drum and Bass Festival.

Ah, right, yeah.

Вы можете попробовать юрту.

Которые для бас-фестиваля?

Да, верно!

Показать еще

Хотите знать еще больше переводов drum and bass (драм анд бэйс)?

Мы используем только переведенные профессиональными переводчиками фразы drum and bass для формирования нашей постоянно обновляющейся базы. Это позволяет максимально точно переводить драм анд бэйс не просто слова, но и целые фразы, учитывая контекст и особенности их использования.

Перевести новое выражение

На основании Вашего запроса эти примеры могут содержать грубую лексику.

На основании Вашего запроса эти примеры могут содержать разговорную лексику.

drum and bass

драм-н-бэйс

драм-н-бейс

драм-н-бэйса

drum’n’bass

drum&bass

драм-н-бэйсе

драм энд бейс

драм-н-бейса

драм-н-бейсом

drum & bass

The name «drum and bass» should not lead to the assumption that tracks are constructed solely from these elements.

Название «drum and bass» не должно привести к предположению, что треки построены исключительно из барабанных и басовых элементов…

Some believe that there is no significant difference between the terms drum and bass and jungle.

В целом нет большого отличия между определениями «drum and bass» и «jungle».

The nature of the music — from classical to drum and bass — depends on the emotion I’m trying to evoke in myself.

Стиль музыки — от классической до драм-н-бэйс — зависит от «тех эмоций, которые я стараюсь в себе пробудить.

Over the next three years he worked as a record producer for several local drum and bass, breakbeat and metal bands, during which time he occasionally used the stage name «Anscenic».

На протяжении следующих трёх лет он работал музыкальным продюсером для нескольких местных групп жанра драм-н-бэйс, брейкбит и металл, в те времена он время от времени использовал псевдоним «Anscenic».

Eleven people playing winds and drums do not recognize any frameworks or established genres — from them you can hear classical jazz, jungle, and drum and bass.

Одиннадцать человек, играющих на духовых и ударных, не признают никаких рамок и устоявшихся жанров — от них можно услышать и классический джаз, и джангл, и драм-н-бейс.

Initially, the guys produced live music, but after they heard the album «Hold Your Color» by Pendulum, the duet completely turned into drum and bass.

Изначально парни продюсировали живую музыку, но после того, как услышали альбом Hold Your Colour от Pendulum, дуэт полностью погружается в драм-н-бейс.

Some believe that there is no significant difference between the terms drum and bass and jungle.

Существует мнение, что нет большой разницы между названиями Drum and Bass и Jungle.

It was during these years when drum and bass attracted more and more fans and firmly established its position as a musical genre.

Именно в эти годы, drum and bass набирает своих преданных поклонников и прочно закрепляется, как новый музыкальный жанр.

The name «drum and bass» should not lead to the assumption that tracks are constructed solely from these elements.

Название «drum and bass» не означает, что треки состоят только лишь из этих элементов.

For the most part, drum and bass is a form of dance music, designed to be heard in clubs.

В основном, Drum and Bass является формой танцевальной музыки, для ночных клубов.

Shortly after, his studio mix Retaliation was released on drum and bass web site paired with an in-depth interview.

Вскоре после этого, его самый репрезентативный студийный микс Retaliation был выпущен на Drum and Bass веб-сайте вместе с подробным интервью.

Their music style is based on Hybrid, dubstep, drum and bass, drumstep.

Их музыкальный стиль базируется на, Dubstep, drum and bass, drumstep.

Active musically since 2010, his music combines styles as diverse as trance, melodic dubstep, drum and bass, glitch hop, and electro house.

Музыкально активный, начиная с 2010 года, его музыка сочетает в себе стили столь же разнообразны, как транс, дабстеп, Drum and Bass, глитч-хоп, и электро-Хаус.

On the first plate will appear own compositions of the Yekaterinburg musical ensemble, played live in the styles drum and bass, idm and trip-hop.

На первой пластинке появятся собственные композиции екатеринбургского музыкального коллектива, сыгранные вживую в стилях drum and bass, idm и trip-hop.

Jojo Mayer is known for bringing together jazz, drum and bass, jungle, and other influences.

Jojo Mayer известен как музыкант, который объединил джаз, drum and bass, jungle и другие музыкальные течения.

He has been releasing music as ShockOne since 2005, producing a wide variety of dance genres including drum and bass, dubstep, drumstep and electro house.

Он выпускает музыку как ShockOne с 2005 года, производя широкий спектр танцевальных жанров, включая Drum and bass, дабстеп и электро-хаус.

There is no universally accepted distinction between «jungle» and «drum and bass«.

В нашем мире нет больших различий между понятиями «jungle» и «drum and bass».

Another characteristic of drum and bass music is that most producers dj and most djs produce.

Характерной особенностью drum and bass также является то, что большинство продюсеров миксуют, и большинство ди-джеев пишет.

Seasplash brings the best performers from the region and from all over the world, featuring drum and bass music and culture.

«Seasplash» приглашает лучших исполнителей из региона из из всего мира, представителей drum and bass музыки и культуры.

Photo report from the largest drum and bass festival of the planet — LET IT ROLL, which took place in early August in the suburbs of Prague.

Фоторепортаж с крупнейшего drum and bass фестиваля планеты — LET IT ROLL, который прогремел в начале августа в пригороде Праги.

Ничего не найдено для этого значения.

Результатов: 135. Точных совпадений: 135. Затраченное время: 81 мс

Documents

Корпоративные решения

Спряжение

Синонимы

Корректор

Справка и о нас

Индекс слова: 1-300, 301-600, 601-900

Индекс выражения: 1-400, 401-800, 801-1200

Индекс фразы: 1-400, 401-800, 801-1200

Предложения с «drum and bass»

Just Piano, Guitar, Trumpet, Drum and Bass.	Только на пианино, гитаре, трубе и ударных.
Well, I think the drum and bass… play a very important part in Bob’s music.	Ударные и бас очень важны в музыке Боба.
These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate elements of breakbeat and drum and bass into 2-step.	Эти треки были более темными, более экспериментальными ремиксами с меньшим акцентом на вокал, и пытались включить элементы брейкбита и драм — н — баса в 2 — step.
The album itself is rather eclectic in its style, songs range from ambient electronica to harsh drum and bass.	Сам альбом довольно эклектичен по своему стилю, песни варьируются от эмбиентной электроники до жесткого драм — н — баса.
Both sides of the record featured heavy funk drum and bass grooves, with the melodic parts snipped from hours of jams and mixed in the studio.	Обе стороны пластинки отличались тяжелыми фанковыми драм — и басовыми грувами, с мелодичными частями, вырезанными из многочасовых джемов и смешанными в студии.
Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.	Большая часть современной клубной танцевальной музыки, драм — энд — Бас, в частности, имеет сильно сэмплированные фанк — брейки.
Dubstep’s early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of drum and bass into the 2-step garage sound.	Ранние корни дабстепа лежат в более экспериментальных релизах британских гаражных продюсеров, стремящихся включить элементы драм — н — баса в 2 — ступенчатый гаражный звук.
Originally, dubstep releases had some structural similarities to other genres like drum and bass and UK garage.	Первоначально дабстеп — релизы имели некоторые структурные сходства с другими жанрами, такими как драм — н — бас и британский гараж.
Dillinja, Roni Size, Die, Hype, Zinc, Alex Reece and Krust were instrumental in the transition of the jungle sound to drum and bass.	Диллинджа, Рони размер, Die, Hype, цинк, Алекс рис и краст сыграли важную роль в переходе звука джунглей на драм — н — бас.
He joined the drum and bass trio Evol Intent in 2000 in his hometown of Atlanta.	Он присоединился к драм — н — бас трио Evol Intent в 2000 году в своем родном городе Атланте.
The genre of reggae music is led by the drum and bass.	Жанр регги — музыки возглавляет драм — н — бас.
Rregula was the stage name of Ross Deschamp, a drum and bass DJ and producer.	Rregula — сценическое имя Росса Дешама, диджея и продюсера драм — н — баса.
Originally drum and bass was mostly sold in 12-inch vinyl single format.	Первоначально драм — энд — Бас продавался в основном в 12 — дюймовом виниловом сингле.
With the emergence of drum and bass into mainstream music markets, more albums, compilations and DJ mixes started to be sold on CDs.	С появлением драм — н — баса на основных музыкальных рынках, все больше альбомов, сборников и DJ — миксов начали продаваться на компакт — дисках.
As digital music became more popular, websites focused on electronic music, such as Beatport, began to sell drum and bass in digital format.	По мере того как цифровая музыка становилась все более популярной, сайты, ориентированные на электронную музыку, такие как Beatport, начали продавать драм — н — бас в цифровом формате.
This left many labels short on sales, as Nu Urban were one of the main distributors for the vinyl market in the drum and bass scene.	Это привело к тому, что многие лейблы недосчитались продаж, так как Nu Urban были одним из основных дистрибьюторов винила на драм — энд — басовой сцене.
The Czech Republic currently hosts the largest drum and bass festival in the world, LET IT ROLL, with an annual attendance of approximately 30,000.	В настоящее время в Чехии проходит крупнейший драм — н — бас фестиваль в мире, LET IT ROLL, с ежегодной посещаемостью около 30 000 человек.
In Venezuela and Mexico, artists have created their own forms of drum and bass, combining it with experimental musical forms.	В Венесуэле и Мексике художники создали свои собственные формы драм — н — баса, сочетая его с экспериментальными музыкальными формами.
Prior to the rise of the internet, drum and bass was commonly broadcast over pirate radio.	До появления интернета драм — н — бас обычно транслировался по пиратскому радио.
Fabio and Grooverider previously held a long-standing drum and bass show on Radio 1. Radio 1 also had a ‘One in the Jungle’ show.	Фабио и Grooverider ранее провели давнее драм — н — бас шоу на Радио 1. На Радио 1 также было шоу Один в джунглях.
The rotating DJs include Kid Hops, whose shows are made up mostly of drum and bass.	Вращающиеся ди — джеи включают Kid Hops, чьи шоу состоят в основном из драм — н — баса.
While the aforementioned shows in Ohio rarely play drum and bass, the latter plays the genre with some frequency.	В то время как вышеупомянутые шоу в Огайо редко играют драм — н — бас, последний играет жанр с некоторой частотой.
Resident DJ Trinidad showcases various styles of electronica, with the main focus being drum and bass, jungle & dubstep.	Резидент DJ Trinidad демонстрирует различные стили электроники, с главным акцентом на драм — н — бас, джунгли и дабстеп.
Other publications include the longest running drum and bass magazine worldwide, ATM Magazine, and Austrian-based Resident.	Другие издания включают самый продолжительный драм — энд — басовый журнал в мире, журнал ATM и австрийский резидент.
Drum and bass has influenced many other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, jazz, rock and pop.	Драм — н — бас оказал влияние на многие другие жанры, такие как хип — хоп, биг — бит, дабстеп, Хаус, трип — хоп, эмбиент, техно, джаз, рок и поп.
Drum and bass is dominated by a relatively small group of record labels.	В драм — энд — Басе доминирует относительно небольшая группа звукозаписывающих компаний.
Major international music labels had shown very little interest in the drum and bass scene until BMG Rights Management acquired RAM in February 2016.	Крупные международные музыкальные лейблы проявляли очень мало интереса к драм — н — бас сцене, пока BMG Rights Management не приобрела RAM в феврале 2016 года.
The popularity of drum and bass at its commercial peak ran parallel to several other genres native to the UK, including big beat and hard house.	Популярность драм — н — баса на его коммерческом пике шла параллельно с несколькими другими жанрами, родными для Великобритании, включая big beat и hard house.
The sounds of drum and bass are extremely varied due to the range of influences behind the music.	Звуки барабана и баса чрезвычайно разнообразны из — за диапазона влияний, стоящих за музыкой.
Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late ’80s, which were hugely influential in drum and bass.	Кевин Сондерсон выпустил серию бас — тяжелых, минимальных техно — сокращений, как проект Reese/The Reese в конце 80 — х, которые были чрезвычайно влиятельны в драм — н — Басе.
Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics.	Драм — энд — Бас имеет много общих музыкальных характеристик с хип — хопом, хотя в настоящее время он в основном лишен лирики.
White labels, along with dubplates, played an important part in drum and bass musical culture.	Белые лейблы, наряду с дубляжами, играли важную роль в драм — н — бас музыкальной культуре.
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed.	Многие драм — и бас — треки включали в себя более одного сэмплированного брейкбита и технику переключения между двумя брейками после каждого такта.
Atmospheric pads and samples may be added over the fundamental drum and bass to provide different feels.	Атмосферные пэды и сэмплы могут быть добавлены поверх основного барабана и баса, чтобы обеспечить различные ощущения.
A general upward trend in tempo has been observed during the evolution of drum and bass.	В ходе эволюции драм — н — баса наблюдалась общая тенденция к повышению темпа.
The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993.	Самые ранние формы драм — энд — баса набирали скорость около 130 ударов в минуту в 1990/1991 годах, ускоряясь до 155 — 165 ударов в минуту к 1993 году.
Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range.	Начиная примерно с 1996 года, барабанные и басовые темпы в основном оставались в диапазоне 170 — 180.
Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.	Следовательно, драм — и бас — партии часто рекламируются как имеющие необычно громкие и басовые звуковые системы.
German drum and bass DJ The Panacea is also one of the leading digital hardcore artists.	Немецкий драм — н — бас DJ The Panacea также является одним из ведущих цифровых хардкорных исполнителей.
Darkcore, a direct influence on drum and bass, was combined with influences of drum and bass itself leading to the creation of darkstep.	Дарккор, прямое влияние на драм — энд — Бас, было объединено с влиянием самого драм — энд — баса, что привело к созданию даркстепа.
There is considerable crossover from the extreme edges of drum and bass, breakcore, darkcore, digital hardcore and raggacore with fluid boundaries.	Существует значительный переход от крайних краев драм — н — баса, брейккора, дарккора, цифрового хардкора и raggacore с плавными границами.
Recently created in the United States is a genre called ghettotech which contains synth and basslines similar to drum and bass.	Недавно созданный в Соединенных Штатах жанр под названием ghettotech, который содержит синтезатор и басовые линии, похожие на драм — н — бас.
Drum and bass is dominated by a small group of record labels.	В драм — энд — Басе доминирует небольшая группа звукозаписывающих компаний.
Roni Size’s label played a big, if not the biggest, part in the creation of drum and bass with their dark, baseline sounds.	Лейбл Roni Size сыграл большую, если не самую большую, роль в создании драм — энд — баса с их темными, базовыми звуками.
V Recordings also played a large part of the development of drum and bass.	V Recordings также сыграли большую роль в развитии драм — н — баса.
RAM Records has been pushing the boundaries of drum and bass further into the mainstream with artists such as Chase and Status and Sub Focus.	RAM Records продвигает границы драм — н — баса дальше в мейнстрим с такими артистами, как Chase, Status и Sub Focus.
Jungle was a predecessor to drum and bass, which saw success in the late 1990s.	Jungle был предшественником drum and bass, который добился успеха в конце 1990 — х годов.
Kraftwerk would also go on to influence other forms of music such as hip hop, house, and drum and bass, and they are also regarded as pioneers of the electro genre.	Kraftwerk также повлияет на другие формы музыки, такие как хип — хоп, хаус, драм — н — бас, и они также считаются пионерами жанра электро.
Dubplates were used by reggae soundsystems worldwide, and later adopted by producers of various dance music genres, most notably drum and bass and dubstep.	Дубляжи были использованы reggae soundsystems во всем мире, а позже приняты продюсерами различных жанров танцевальной музыки, в первую очередь драм — н — баса и дабстепа.
Based in Helsinki, Finland, Hatula composes drum and bass and electronic music.	Базирующаяся в Хельсинки, Финляндия, Хатула сочиняет драм — н — бас и электронную музыку.
In 1992, he joined New Generation Music and Mission as a travelling engineer and moved to Bristol—the scene that was breaking drum and bass.	В 1992 году он присоединился к New Generation Music and Mission в качестве инженера — путешественника и переехал в Бристоль—сцену, которая ломала драм — н — бас.
The project was included on several drum and bass compilations.	Этот проект был включен в несколько драм — и басовых сборников.
For example, a piece of music may be described as progressive rock or indie or ragga jungle drum and bass.	Например, музыкальное произведение можно описать как прогрессивный рок, инди или рэгга — джангл драм — н — бас.
There’s dubstep to hip-hop, electro to drum and bass.	Есть дабстеп для хип — хопа, электро для драм — н — баса.
Nanotek, born Mark Christiansen, is an international drum and bass and dubstep producer and DJ from Wellington, New Zealand.	Nanotek, урожденный Марк Кристиансен, является международным драм — н — бас и дабстеп продюсером и диджеем из Веллингтона, Новая Зеландия.
The typical instrumentation was three trumpets, two trombones, two reeds, tuba, snare drum, and bass drum.	Типичным инструментом были три трубы, два тромбона, два тростника, туба, малый барабан и бас — барабан.
And also the use of pads in electronic music such as drum and bass -how bassists have reacted or been influenced by this.	А также использование пэдов в электронной музыке, таких как драм — н — бас — как басисты реагировали или находились под влиянием этого.
Stylistically, grime draws on many genres including UK garage, drum and bass, hip hop and dancehall.	Стилистически грайм опирается на многие жанры, включая британский гараж, драм — н — бас, хип — хоп и танцевальный зал.
Lamb are an English electronic music duo from Manchester, whose music is influenced by trip hop, drum and bass and jazz.	Лэмб — английский дуэт электронной музыки из Манчестера, чья музыка находится под влиянием трип — хопа, драм — н — баса и джаза.
FabricLive.76 is a DJ mix album by English drum and bass musician Calyx and Norwegian DJ musician TeeBee.	Ткань жива.76 — альбом диджей микс на английский drum’n’Bass музыкант чашечки и норвежский ди — джей и музыкант TeeBee.

Драм-н-бейс или драм-энд-бейс (англ. drum and bass, drum ‘n’ bass, drum & bass, сокращённо D&B или DnB; МФА //)^[3] — жанр электронной музыки, который возник на рейв-сцене из олдскул-джангла в Англии в начале 1990-х годов.

Изначально драм-н-бейс возник как ответвление британской сцены брейкбита и джангла, когда музыканты стали смешивать бас из рагга с ускоренным брейкбитом из хип-хопа.
Некоторые считают ^[кто?], что существенного различия между терминами «драм-н-бейс» и «джангл» нет. Некоторые называют джанглом старые записи первой половины 90-х годов, а драм-н-бейсом считают существенно эволюционировавший джангл с новыми посттекстепными элементами. Другие для краткости используют термин «джангл» для обозначения рагга-джангла — характерного поджанра джангл-музыки.

История

Появление в Британии

Ранний джангл был ответвлением хардкора, сосредоточенного на брейкбите. Как было упомянуто выше, в нём были соединены дабовый бас с быстрым хип-хоповым брейкбитом — это произошло в поздних 80-х, когда культура рейва и экстази достигла успеха в Великобритании. Когда развился более басовый, тяжёлый и быстрый саунд, джангл стал обнаруживать свои собственные отличительные черты. В результате последовательного совершенствования продюсерами-первопроходцами, звук стал более урбанистичным, всё ещё включая в себя напевы из регги, дабовый бас, но также и всё более сложные, быстрые, стремительные ударные. К 1995 году появилось встречное движение, названное «интеллиджент», реализованное диджеем LTJ Bukem и его лейблом Good Looking. Некоторые^{[источник не указан 4795 дней]} считают, что переход к «разумному» джанглу был осознанным и согласованным ходом основных диджеев и продюсеров против культуры, которая наполнялась жестокими элементами «гангста». Интеллиджент сохранял стремительный брейкбит, но фокусировался на более атмосферном звуке и глубоком басе, в противоположность жёсткому вокалу и семплам.

К ранним героям драм-н-бейс-культуры относятся исполнители A Guy Called Gerald (трек «28 Gun Bad Boy») и 4hero (трек «Mr Kirk’s Nightmare»), которые позже развили свои собственные направления, оставив в стороне мейнстрим^[4][5][6]. Однако большинство ранних продюсеров и диджеев всё ещё пишут и играют, составляя старую гвардию.

Характерной особенностью драм-н-бейса также является то, что большинство продюсеров (авторов композиций) также являются диджеями, а большинство диджеев пишут музыку.^{[источник не указан 984 дня]}

От джангла к драм-н-бейсу

Тогда же, когда появился интеллиджент, рагга-джангл перешёл в более тяжёлый, ударный стиль, хардстеп, а также в джамп-ап, на который воздействовали стили хип-хоп и фанк (примеры — исполнители Mickey Finn и Aphrodite с лейблом Urban Takeover, а также Ganja Kru с лейблом True Playaz), в то время как другие продюсеры продвигали более «мягкие» настроения (композиции, исполненные в таком настроении, часто именуют «роллерами» (англ. rollers)).

В 1996 году хардстеп и джамп-ап были очень популярны в клубах, в то время как звучание интеллиджента было в первую очередь ориентировано на домашнее прослушивание в спокойной обстановке. Стили драм-н-бейса всё более расходились, но в то же время смешивались с другими жанрами. В 1997 году фанк-ориентированный, контрабасовый звук вышел на передний план, достигнув успеха в мейнстриме (пример — исполнитель Roni Size, лейбл Reprazent).

Рождение текстепа

С противоположной стороны популярность стал завоёвывать новый, «тёмный» техно-саунд в драм-н-бейсе, поддерживаемый лейблами Emotif, No U-Turn и такими продюсерами, как Decoder, Trace, Nico, Ed Rush и Optical, Dom & Roland и Technical Itch — стиль, обычно называемый текстепом. Текстеп взял новые звуки и технологии и применил их к джанглу. Этот стиль характеризуется мрачной, фантастической атмосферой и звуками, «холодными» и сложными ударными, а также «тёмным», сильным басом.

На закате 90-х текстеп занял доминирующую позицию на сцене драм-н-бейса с такими самыми заметными коллективами как Bad Company и Konflict. Текстеп становился всё более «тяжёлым», и популярность фанки-стиля, представленного Roni Size в 1997 году, убывала. Однако, к 2000 году появилось движение, провозглашавшее лозунг «верните фанк в drum and bass». Оформилась тенденция к возрождению рейвового саунда, появились ремиксы классических джангловых треков, тяготеющие к корням жанра.

2000-е

С 2000 года сцена стала очень разносторонней, из-за чего сейчас сложно назвать какой-то стиль в драм-н-бейсе ведущим.

В 2000 году Fabio (англ.) стал поддерживать стиль, названный им «ликвид-фанк»^[7], выпустив компиляцию треков на собственном лейбле Creative Source^[8]. Этот стиль характеризовался влияниями диско и хауса, а также широким использованием вокальных партий. Несмотря на медленное вхождение в моду, стиль стал крайне популярен в 2003—2004 годах, а в 2005 был признан самым продаваемым поджанром драм-н-бейса с такими лейблами как Hospital Records и Soul:R, и продюсерами High Contrast, Calibre, Nu:Tone, Marcus Intalex^[9] и Logistics среди других сторонников.

Также произошло возрождение стиля джамп-ап. Упоминаемый как «Nu Jump Up», он имеет весёлое и простое звучание, сохраняя бас из старого джамп-апа, но с новыми, более тяжёлыми элементами. Выдающиеся продюсеры стиля включают Twisted Individual, Generation Dub и DJ Hazard (англ.).

В этот период также произошёл рост популярности стиля «дабвайз» (англ. dubwise). И хотя звук с влиянием даба не был нов и в течение уже долгого времени поддерживался продюсерами Digital и Spirit, в 2003—2004 стиль увидел рост популярности с новыми продюсерами (например, Amit, Tactile, The Fix).

Аналогично, пока существовали продюсеры, занятые исключительно детальным программированием и манипуляцией ударными (например, Paradox), в первой половине декады произошло возрождение и развитие другого поджанра, известного как «драмфанк». К основным лейблам относятся Inperspective, 13 Music и Bassbin, а новая волна продюсеров включает Fanu, Breakage и Fracture and Neptune. Остаются активными и востребованными и ветераны жанра — такие, как Alaska (Paradox) и Seba.

Живое выступление

Многие музыканты адаптировали драм-н-бейс для живого выступления, где используют такие инструменты, как барабаны (акустические или электронные) или семплеры, синтезаторы, бас-гитары и гитары. Также атрибутом живого выступления часто является эмси.

Звучание драм-н-бейса

Существует множество взглядов на то, что составляет «настоящий» драм-н-бейс. Мнения расходятся из-за существования большого числа стилей, от «тяжёлого» текстепа до «мягкого» ликвид-фанка. Драм-н-бейс сравнивают с джазом, где в рамках одного жанра можно услышать музыку, звучащую совершенно по-разному. Кроме того, сейчас драм-н-бейс — это больше подход и традиция, нежели стиль^[10].

Исходя из вышесказанного, сложно точно описать звучание драм-н-бейса, но можно выделить ключевые особенности.

Определяющие характеристики

Брейкбит

Брейкбит — это главный определяющий элемент драм-н-бейса^[11]. С музыкальной точки зрения брейкбит характеризуется ломаным ритмом, элементом синкопы, в отличие от «прямого» 4-ударного ритма (так называемой «прямой бочки») в техно, трансе и хаусе.

Большинство брейкбитов напрямую берутся (семплируются) или составляются из ударных партий в старых записях жанров соул, фанк, блюз и джаз. Собственно «брейк» относится к той части песни, где нет вокала и есть акцент на ритм и бит. Хотя, с середины 90-х множество продюсеров используют тустеп или другие брейкбиты, скомпонованные из отдельных ударных семплов, которые похожи на семплированные, но обычно звучат жёстче. Также часто брейкбиты создаются с использованием обеих техник.

Наиболее часто используемые брейкбиты в драм-н-бейсе взяты из треков:

• The Winstons — «Amen, Brother» (амен брейк^[12] и его производная — домен^[13])
• Джеймс Браун — «Cold Sweat», «Tighten Up»^[13] и «Funky Drummer»^[14]
• Лин Коллинс — «Think»
• Incredible Bongo Band — «Apache»^[14]
• The Commodores — «Assembly Line»

Темп

Типичная скорость для драм-н-бейса составляет обычно 170—180 BPM, в отличие от других форм брейкбита, таких, как брейкс, которые специализируются на скоростях 130—140 BPM. Повышенный темп не был изначально присущ жанру, а появился при развитии драм-н-бейса — самые ранние треки олд-скул-рейва и джангла имели скорость около 155—165 BPM, в то время как материал нового тысячелетия редко опускается ниже 170 BPM^[4][15] и часто достигает 175 BPM и больше.

Важность ударных и баса

Название этого жанра не означает, что треки состоят только лишь из ударных и баса. Тем не менее они являются самыми важными элементами и составляют большую часть треков. В жанре большое внимание отводится глубокому басу, который чувствуется физически при прослушивании. Было произведено немало экспериментов с тембром в зоне баса, особенно в текстепе.

Среда

Главным образом, драм-н-бейс — это форма танцевальной музыки, предназначенная для прослушивания в ночных клубах, а также для экстремальных видов спорта. Жанр использует весь частотный диапазон и физичность, которую часто нельзя полностью оценить на домашнем оборудовании при прослушивании на малой громкости. В соответствии с названием, элемент баса сильно выделяется, в отличие от других жанров танцевальной музыки. Поэтому для полного восприятия музыки требуется специальное звуковое оборудование, которое, как правило, установлено именно в ночных клубах.

Из-за своей «клубной» природы драм-н-бейс доносится до публики в первую очередь благодаря диджеям^[16]. Поскольку большинство треков пишутся для лёгкого сведения диджеем, их структура отражает предназначение: присутствуют вступительные и заключительные части (англ. intro, outro), использующиеся для битмэтчинга и не предназначенные для детального восприятия слушателями. Обычно диджей производит сведение таким образом, чтобы не потерять непрерывный бит. Кроме того, диджей может использовать типичные для хип-хопа приёмы: скрэтчи, двойные дропы (где два трека сводятся так, что делают дроп в один и тот же момент) и ривайнды^[17].

Большинство точек сведения начинаются или заканчиваются там, где происходит дроп. Дроп — место, где происходит значительное изменение ритма или баса, а после происходит выход брейкбита. Часто дроп используют для перехода между треками, сводя компоненты различных треков. Некоторые дропы так популярны, что диджей перематывает пластинку и проигрывает дроп снова.

Выступление диджея часто сопровождается поддержкой одного или более эмси. Этот элемент исходит из корней жанра — музыки хип-хоп и регги^[18].

Появление в мейнстриме

Некоторые работы в жанре драм-н-бейс достигли высокой популярности в мейнстриме, особенно материал с вокалом. Самые ранние примеры — Goldie с альбомом Timeless 1995 года, а также альбом New Forms Reprazent’а в 1997 году. В последние годы треки, такие как «Shake Your Body» (Shy FX и T-Power) занимали позиции в чарте UK Top 40^[19]. Трек продюсера Hive «Ultrasonic Sound» попал на саундтрек первой части фильма «Матрица». Трек «Goa» московского продюсера Electrosoul System, транслировался в дневном эфире британского BBC Radio One летом 2005 года.

Драм-н-бейс — частый гость саундтреков компьютерных и видеоигр. Нередко композиции в этом жанре можно услышать в автосимуляторах, файтингах и 3D-шутерах. Одним из самых знаменательных проявлений драм-н-бейса в играх стала вымышленная радиостанция MSX FM в 3D-экшене Grand Theft Auto III. Название станции, равно как и её репертуар, происходят от одного из известнейших и старейших драм-н-бейс-лейблов Moving Shadow (год выхода игры совпал с празднованием десятилетия лейбла, поэтому к сокращению MS добавилась римская цифра X).

Также в последнее время поп-музыка начинает использовать некоторые элементы драм-н-бейса, но в изменённой манере. Примеры — Puretone и Girls Aloud. Жанр часто появляется на ТВ и в рекламе.

Распространение

В основном драм-н-бейс распространялся на 12-дюймовых виниловых пластинках, но некоторые компиляции, миксы и альбомы продаются на компакт-дисках. В 2000-х большое количество драм-н-бейса стало выпускаться в цифровом формате. Существуют лейблы, занимающиеся распространением музыки через интернет (Intelligent Recordings, Absys, Transference, Translation). Крупные лейблы (Fokuz, Playaz, Renegade Hardware, RAM), которые раньше выпускали исключительно винил и CD диски, теперь также предлагают покупателям и цифровые копии своих релизов. Сейчас^{[когда?]} количество цифровых релизов, поступающих в продажу еженедельно, во много раз превосходит количество виниловых релизов.

В России для массового потребителя драм-н-бейс доступен в большинстве магазинов, продающих компакт-диски (в этом случае жанр представлен, как правило, не альбомами, а готовыми компиляциями или миксами). Единственным российским виниловым лейблом до 2006 года был — Step2Zero, который прекратил своё существование в 2008 году, после выхода 4-го релиза. Зарубежная продукция на виниле доступна в редких магазинах. Основной источник винила — интернет-магазины, которые отправляют пластинки в любые точки планеты.

В СМИ

Известные журналы о драм-н-бейсе: ежемесячный Knowledge Magazine и ATM Magazine.

Самое большое драм-н-бейс-радиошоу в Великобритании — это шоу Fabio и Grooverider’а на BBC Radio 1. Станция 1Xtra также сильно поддерживает этот жанр вместе с диджеями Bailey, Crissy Criss и Friction.
В России среди джанглистов имеет популярность программа «Пиратская Станция», выходящая на «Радио Рекорд» (Санкт-Петербург — 106,3 FM) с неизменным ведущим DJ Gvozd, а также программа «Шторм», впервые появившаяся в эфире «Станции», а ныне выходящая на DFM (Москва — 101,2 FM) с ведущими DJ Грувом (Евгений Рудин) и Дэном. В 2006 году в эфир вышло радиошоу Blazin на радио Megapolis FM, ведущий — DJ Profit (Москва — 89,5 FM), которое выходило в эфир до февраля 2013 года. DJ BES — «Юность FM» (68,84). С 1 января 2013 года на московской сетевой радиостанции 16Bit.FM, канал Club, стартовало радиошоу BlackList, ведущий — DJ BlackHawk. Также, программа «Синдикат» на «Август Радио» (Тольятти 102.3) в 23:00 каждую среду, руководитель промогруппы — Радар, ведущий — DJ Rom, рассказывающий о новых бейс-течениях.

Начиная с 2015 года и по сей день на радио Megapolis FM еженедельно выходит подкаст «Луч» по понедельникам в 23:59, ведущий — Антон Take.

Примечания

Ссылки

• На Викискладе есть медиафайлы по теме Драм-н-бейс
• История драм-н-бейса на сайте BBC

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