2010 Riddim Download Zip

[Florene Pothoven]

By1993, Jamaica finally established a copyright act, but producers still face difficulty in establishing profit. Through proper registration, many artists now work on negotiating their royalties and taking it more seriously. The unique nature of dancehall and riddims have been highly influential on the numerous remixes that now circulate throughout R&B and hip-hop music.

Some classic riddims, such as "Nanny Goat" and "Real Rock" both produced by Clement "Coxsone" Dodd, are essentially the accompaniment tracks of the original 1960s reggae songs with those names. Since the 1980s, however, riddims started to be originally composed by producers/beatmakers, who give the riddims original names and, typically, contract artists to voice over them. Thus, for example, "Diwali" is the name not of a song, but of a riddim created by Steven "Lenky" Marsden, subsequently used as the basis for several songs, such as Sean Paul's "Get Busy" and Bounty Killer's "Sufferer."[1]

"Riddims are the primary musical building blocks of Jamaican popular songs.... At any given time, ten to fifteen riddims are widely used in dancehall recordings, but only two or three of these are the now ting (i.e., the latest riddims that everyone must record over if they want to get them played in the dance or on radio).... In dancehall performing, those whose timing is right on top of the rhythm are said to be riding di riddim.[2]

Riddims are the instrumental background (the rhythm section) of reggae, lovers rock, dub, ragga, dancehall, soca, bouyon, Sega and also reggaeton, which itself is largely based on the Dem Bow and Fish Market riddims by Steely & Clevie from the early 1990s.

In other musical contexts, a riddim would be called a groove or beat. In most cases, the term riddim is used in reference to the entire background track or rhythm section, but in older roots riddims, riddim is used to reference a certain bass line and drum pattern. Often a melody is associated with the riddim, and occasionally an artist will produce two different songs with the same riddim (e.g. Elephant Man's "Ele Melody" and "Father Elephant" were both produced using the Kopa riddim, produced by Supa Dups).[citation needed] Riddims began forming popular in the early 1960s with the evolving role of the DJ. The work of DJs became less of shouting throughout points during a song, but more focused on an aesthetic with the voicings over these instrumental riddims. A specific DJ, DJ U-Roy, revolutionized the practice with studio recordings of these DJ voicings as his recordings skyrocketed on the charts in Jamaica in the 70s, thus leading to the beginning stages of dancehall. Riddims, therefore, became the standard practice for dancehall as it has progressed. Today, the same practices combining riddim and voicing still takes precedence in dancehall. Other live performances like at clubs or along the streets feature the use of sound systems in which there are usually medleys of different songs that all use the instrumental accompaniment.

African in origin (see clave (rhythm) and bell pattern),[4] riddims can generally be categorized into three types. One of the oldest types of riddim is the classical riddim providing roots reggae, dub, and lovers rock with instrumentals, such as Bam Bam, produced by Sly & Robbie. The second type is the ragga riddim backing raggamuffin and dancehall songs, such as the Juice riddim, produced by Richard "Shams" Browne. The third type is the digital riddim, such as Sleng Teng, Punaany Riddim & Duck Riddim produced by King Jammy.[citation needed]

Different producers often develop their own versions of the same riddim, such as the Punanny riddim, which has distinct versions crafted by Steely & Clevie and by Ward 21, the Buzz Riddim, which was produced by Troyton Rami & Roger Mackenzie and officially launched dancehall deejay Sean Paul into superstardom ("Gimme the Light" from the Buzz Riddim won him his first Grammy for Best Reggae Album). Different artists often perform on top of the same riddims with different lyrics and different vocal styles, ranging from singing to toasting. As an example, Beenie Man's song "My Wish", Mr. Vegas' song "Go Up", and T.O.K.'s "Mana Bad Man" are all based on the Juice riddim. Many riddims are named after the song that was recorded on that instrumental track for the first time (or, in some cases, the song that becomes the most popular on a given riddim). For example, the Satta Massagana riddim is named after the Abyssinians' original song "Satta Massagana".

Riddim (also called Trench[3]) is a subgenre of dubstep known for its heavy use of repetitive and minimalist sub-bass and triplet percussion arrangements. It shares the same name as the Jamaican genre that influenced both it and dubstep, which originally derived from dub, reggae, and dancehall. Originating in the United Kingdom, specifically Croydon, in the early 2010s as a resurgence of the style used by early dubstep works, riddim started to gain mainstream presence in the electronic music scene around 2015.

Despite receiving criticism for its sometimes repetitive drops, it has grown in popularity due to various well-known electronic music DJs playing songs of the subgenre in their live sets as well as various well-known electronic music artists producing the genre.

The term "riddim" is the Jamaican Patois pronunciation of the English word "rhythm". The derived genre originally stemmed from dub, reggae, and dancehall. Although the term was widely used by MCs since the early days of dancehall and garage music, it was later adopted by American dubstep producers and fans to describe what was originally referred to as "wonky dubstep". As a subgenre, riddim started to gain mainstream presence in the electronic music scene around 2015.[1]

As all riddim works of music are dubstep, their histories and notable artists can be considered closely intertwined. Riddim can be traced back to several dubstep artists, including Jakes and Rusko. Although not considered a riddim artist, Rusko originally produced dubstep that featured riddim-esque bassline patterns. Jakes is credited by many as being the first riddim artist, and served as direct inspiration for the following wave of producers. From that wave, artists like Subfiltronik are credited for establishing what riddim is known as today.[4][5]

In January 2018, German DJ and producer Virtual Riot released his riddim-focused extended play German Engineering, which peaked at the No. 11 spot on Billboard's Dance/Electronic Album Sales chart.[7][8] In February 2019, American multi-platinum artist Marshmello collaborated with riddim producer Svdden Death to release the song "Sell Out".[9] Although the song was criticised for being an "easy cop-out to increase variety" within Marshmello's discography,[10] the song charted on Billboard's Hot Dance/Electronic Songs at the No. 36 position.[11] Svdden Death's later released extended play Voyd: 1.5 debuted at the No. 8 on Billboard's Dance/Electronic Albums.[12]

In October 2020, producer Papa Khan released his Blossom EP, which was recognized by Marshmello and promoted on JOYTIME COLLECTIVE.[16] Its opening track, "Rain" is currently the most streamed colour bass track, with 6 million streams on Spotify,[17] 400 thousand plays on SoundCloud,[18] and 390 thousand views on YouTube.[19]

Throughout riddim's history, the genre has commonly crossed over with brostep, creating the subgenre of briddim, which combines the heavier snare and kick sounds of riddim with brostep's sound design.[20] Despite the difference in musical style, briddim is commonly still referred to just as "riddim" plain.

Riddim utilises repetitive, minimalistic layers and triplet percussion arrangements[citation needed] in a rhythmic style. Like dubstep, riddim is often produced at a tempo of 140 to 150 beats per minute and was noted as having comparatively more "space", atmosphere, and "super dark textures" by riddim producer Infekt.[6] Jayce Ullah-Blocks of EDM Identity characterised modern riddim with the presence of low-frequency oscillation (LFO) square waves, wide delays, and a large use of flanger and chorus filters.[1]

In other words, Casio, familiar to millions as the maker of the calculators used in classrooms and offices around the world, played midwife to Jamaican digital dancehall. Even more remarkably, the preset track that became the Sleng Teng riddim was the work of a young developer who was still in her first year with the company.

In those days the environment for creating digital music was nothing like as advanced as it has become today. The MIDI standard format did not yet exist. It was necessary to convert a musical score into code, record the code onto an ROM, and then inset the memory into a specialized machine. Only then could you listen to the rhythm pattern you had written. It was a laborious, time-consuming process that meant long hours of trial and error before a pattern could be completed, and this made it difficult to commission outside developers to do the work.

After graduating from a musical high school, Okuda went on to study at Kunitachi College of Music. She had no ambitions to become a performer herself, instead specializing in general music studies, studying music history and sociology alongside theory and the harmony that forms the foundations of all musical composition. But the real focus of her studies was reggae.

There were all kinds of constraints in terms of the types of sounds and number of notes that could be used. The preset patterns could only use drum and bass sounds, and they were limited to a length of two bars. These limitations meant programmers could not add much variety to the drum sound, and the main focus became the construction of the bass line.

Only just. It was funny. There was a forum where people would put their free releases up and at some point you had the categories all mixed up so the heavy stuff and deeper stuff was too mixed up. So someone made a new category and called it riddim. They picked a random word for it and put everything that fit the idea of riddim into there. All the OG people hated the term but then it got more and more popular and now everyone uses it.

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