The Evolution of Reggae/Dancehall Production: From Analog to Digital (featuring Steely & Clevie and Sly & Robbie)

In my last post, I talked about the gear I’ve used over the years and my transition from analog to digital as a beatmaker and music producer. Today, I want to expand on that topic — exploring how Dancehall and Reggae evolved from analog to digital production, based on what I’ve seen other producers and musicians use over the decades.

From Tape to Tech: A Changing Sound (Reggae Production)

If you’re over 30, you’ve likely noticed how the sound of our music has changed with each decade — from the 1970s to today. Over just a few decades, the sonics of Dancehall and Reggae evolved from gritty, warm analog tones to the crisp, polished sound of modern digital production.

In the 1970s and early ’80s, most sessions were recorded using analog gear — tape machines, mixing consoles, and live instruments like bass, guitar, Hammond B3 organ, and grand piano. Bands played together in the same room, often with the lead vocalist tracking live alongside them. Songs were rehearsed several times before the tape started rolling.

Legends such as Bob Marley, Toots & the Maytals, Jimmy Cliff, and Beres Hammond all recorded in this organic, live-in-studio format. Even classics like “Bam Bam” by Sister Nancy and many of Yellow Man’s hits came out of the analog era.

The Digital Dawn

Wurlitzer Sideman drum machine.

By the late 1970s and early 1980s, technology began reshaping music production. Electronic drum machines and synthesizers started replacing traditional instruments — mimicking drums, strings, brass, and keyboards. The first commercial drum machine was the Wurlitzer Sideman in 1959, used on “Baby You’re Mine” by Robin McKeller. But these devices were expensive until Casio entered the game.

Casio’s affordable keyboards democratized music creation. The Casio MT-40 (released in 1981) powered the legendary “Sleng Teng” riddim, produced by King Jammy in 1985 — the riddim that officially launched the digital dancehall revolution.

The Innovators: Steely & Clevie (Dancehall History)

Lloyd “King Jammy” James Sr., one of Jamaica’s most influential producers, surrounded himself with innovative musicians — including the powerhouse duo Steely & Clevie.

Steely & Clevie.

Clevie (my uncle!) transitioned from live drumming with bands like Generation Gap and Studio One’s house band for Freddie McGregor into the digital realm. Steely, meanwhile, had been a keyboardist for Roots Radics and helped define the era’s new sound.

Obraheim DMX drum machine.

As his nephew, I was lucky enough to see some of his “tools of trade.” My brother and I even inherited a few. One standout was the Oberheim DMX drum machine — used on countless hit sessions — later replaced by the E-mu SP-1200 and, eventually, the AKAI MPC-2000.

The SP-1200 helped define riddims like “Street Sweeper,” “Skettel,” and “Colombian Necktie” for Steely & Clevie's Studio 2000 Production label.

The Sound of the ’90s

By the early 1990s, the Korg M1 and Yamaha DX-100 became the go-to keyboards for reggae and dancehall producers. Steely often used the Yamaha CS-01 for his signature synth-bass tone, pairing it with the bright keys of the DX-100.

These instruments became staples of the Jamaican studio sound. Whether you were in Kingston or Montego Bay, chances are every studio had a DX-100 or Korg M1 on deck. Later, new gear like the Roland JV-1080, Korg Triton, E-mu Planet Phat, and Mo’ Phatt joined the lineup, continuing the evolution.

The Taxi Gang Legacy

Meanwhile, Sly & Robbie — the Rhythm Twins — were blazing their own digital trail. Sly Dunbar

Sly & Robbie, rhythm twins.

was among the first drummers in Jamaica to use the AKAI MPC 60. His drum sequences were layered and heavy, with multiple kicks and snares giving them a distinctive punch.

AKAI MPC 60.

Together with The Taxi Gang, Sly & Robbie produced hits for Chaka Demus & Pliers like “Murder She Wrote” — a rhythm that still shakes dance floors worldwide.

Before the digital shift, Sly & Robbie had already built their reputation as the backbone of Black Uhuru, touring

with Peter Tosh and recording with Grace Jones and Joe Cocker.

From Hardware to “In The Box”

Today, most producers work entirely inside digital audio workstations (DAWs) like Pro Tools, Logic Pro, or Ableton Live. Yet, I wouldn’t be surprised if veterans like Clevie or Sly still incorporate a piece of standalone hardware — perhaps an AKAI MPC variant — in their workflow.

I know I do. After years working solely in-the-box, I recently picked up an MPC One+, and it reignited that old creative spark. There’s just something about tactile hardware that brings the music to life.

The Never-Ending Evolution (Analog vs Digital)

From live bands with 12 musicians to solo producers creating entire songs from a laptop, the music industry has transformed dramatically in less than a century.

Analog consoles with 48 tracks have been replaced by DAWs with unlimited possibilities. Instruments that once filled studios now exist as lightweight plug-ins.

And with tools like AI-driven music generators (hello Suno), we’re stepping into a new phase of innovation.

Whether better or worse depends on your perspective — but one thing is certain: the evolution never stops.

If you found value in this post, feel free to share, comment, or tell me your take on how technology has shaped our music.

Inside the Producer’s Toolbox: My Go-To Gear for Dancehall Music Production (by Shams the Producer).

People often ask me, “What gear or plugins do you use in dancehall music production?” but a wise man once said, “A great magician never reveals his tricks” ☺ 

All jokes aside, I have no objections to sharing my “toolbox” because each musician’s gifts or talents vary from person to person, and we all end up with different results even when using the same equipment. Besides, what’s the point of knowledge and experience if not to share them?

Shams the Producer at Main Street Studio.

I am grateful to have begun my career during the era of analog recording and mixing. Recording on two-inch tapes with a 36-channel mixing console and a variety of outboard reverbs, delays, compressors, and other signal processors was the standard at that time, and I absolutely loved it!

However, analog had its limitations. There was no “undo” button, no snap-to-grid, no copy and paste; the convenience of time-saving shortcuts didn’t exist. We had to do things step by step, which could take hours. And all this is from the audio engineer’s perspective.

On the other hand, a beatmaker, or producer who made beats, needed to have an arsenal of hardware. Most importantly, the drum machine (or sequencer). I had an MPC 3000 limited edition (black). The MPC was one of the popular sampler/sequencers in the late 1990s and early 2000s. I also had a Korg Trinity 61-key and an E-mu Planet Phat sound

AKAI MPC 3000 LE

module. Most of my production was done using all the mentioned, including a Korg Triton module and a Roland JV-1080 synth module, which I had access to in the studio.

Riddims like Baddis, Grass Cyaat, Orgasm, Juice, and Gipsy were all created and mixed using analog equipment at Main Street Recording Studio in Kingston, Jamaica. The drum samples I used were a combination of sounds I received via floppy disk from either my uncle, Danny Brownie (Main Street Records), or my other uncle, Clevie (Steely & Clevie). I also sampled some drum sounds directly from two-inch tapes that clients left in the studio. I had all the popular drum samples synonymous with Dancehall in my sound library. This was the most important part to me; once the drums were solid, the rest was like icing on the cake. 

The picture above shows images of popular DAWs (Digital Audio Workstations).

I began my transition to digital (Pro Tools) around 2003, and by 2005, I had started working solely “in the box.”

The convenience of having everything I needed in one place was the main selling point. Everything was easy to recall, undo, copy, and paste. This saved time when tracking or recording, especially vocals. And unlike analog recording, I preferred digital recording for vocals because whatever I recorded is exactly what I get back—no tape noise, no hissing, no frequencies lost. And any warmth lost on bass or drums during digital recording can be easily recreated with plugins, so it’s a win-win.   

Click the image to stream this song.

All my recent dancehall productions have been recorded and mixed using Pro Tools. Some of my reggae works, like 'Million Reasons (Reggae Cover)' by Alaine and Shams the Producer, are recorded with live musicians, processing their line signals through outboard gear before recording in Pro Tools. This process enables you to achieve the precise tones of each instrument, reducing the need for EQ adjustments during the mixing process.

Over the years, I’ve used the drag-and-drop and snap-to-grid drum sequencing method when making beats, but I still prefer the MPC platform. I recently purchased the MPC One+, and it reminds me of my MPC 3000. Unlike the MPC Studio Black I bought three years ago, I believe I prefer stand-alone hardware. Plus, I’ve never really liked using a DAW for sequencing beats, especially drums. Call me

AKAI MPC One+

old school, but I love finger drumming. It’s like playing my bass guitar or keyboards. The inspiration flows from my body to my hands and fingers. A mouse and keyboard can never replace that.

My current go-to soft-synth is Xpand!2, a plugin instrument from Avid (Pro Tools). I also use synths and synth loops from Logic Pro X. However, any tracks created in Logic Pro are always transferred into Pro Tools for additional tweaking and mixing.  

My mixing and mastering workflow deserves its own blog. Let me know in the comments if you’re interested. One thing I will mention is that the ability to recall mixes makes working in the box both convenient and a hindrance to productivity (those who know, will know what I’m talking about).

The truth is, it’s never about the equipment; it’s about the person using it. We all have the gift of creativity, which manifests itself in different ways, unique to each individual. 

Now you know what Shams the Producer, dancehall music production toolbox looks like,

What do you use? Or, what’s your preferred workflow?

Please let me know in the comments, and if you found value here, I would appreciate it if you could share.

Thank you for stopping by.

Who Is "King of The DANCEHALL" ?

I am sure by now you have seen, heard, or even taken part in the ongoing debate regarding the question of the decade: “Who is the KING of the Dancehall”?

Many fans of the Dancehall culture have been proclaiming that the World Boss - Vybz Kartel, is the one true “King”, while others claim that The Doctor - Beenie Man is “King”.

Here are my two cents on the subject.

King Stitt

Let us go back a few decades, 1950s/1960s. Do you recall a once-popular artist known as King Stitt?

King Stitt was crowned “King of the Deejays” in 1963. Deejaying in the 1960s was very different from deejaying in the 1990s and more so in the 2020s. Music as a whole has evolved into something almost unrecognizable from the authentic Jamaican culture as we know it. In my opinion, the only thing that keeps our music identifiable as Jamaican is the fact that our artists have a distinct sound, namely the Jamaican patois/accent. If we strip away the vocals, we will find that the instrumentation in today’s music strongly mimics the Trap, R&B, and Hip-hop grooves, sounds, and melodies of the American music culture.

Don’t get me wrong, I’m not bashing the music, I’m just stating the facts regarding the evolution of our music. Our music has evolved from rocksteady, ska, etc., spanning decades of generational changes in styles, tempo, and melodies, which has brought us to where we are today.      

Do you recall U-Roy?

U-Roy

Also referred to as The Originator and The Teacher. U-Roy was also one of the pioneers of the Jamaican Deejay culture, beginning his career around age 18 in 1961. Back then, Deejaying was known as toasting. Toasting was the act of an MC holding the mic at a dance/party and talking (or chanting) over the instrumentals of whatever the DJ/Disc jockey was playing at the time. This was a means of getting the party going, bringing vibes, and adding a spontaneous element to the evening’s entertainment. U-Roy, among many others, started his career as a toaster; his style and charisma attracted the attention of popular record producers, which ultimately led him to become an Icon and inspiration to many other Deejays.

Yellowman

Okay, so you probably never heard of King Stitt or U-Roy. What about Yellowman? Or King Yellowman.

He, too, was (and still is by many) touted as King. Yellowman dominated the 80’s with his unique sound and provocative lyrics. He was one of the first deejays to sing about sex, which was taboo in Jamaican culture.

The Jamaican music scene pre Yellowman was predominantly about the struggles, the oppression, social injustice, freedom from poverty, and liberation for blacks on a global scale. 

Yellowman gained popularity not just because he, like many other artists, came from nothing and made a career for himself, but also because he dug deep inside his creative essence to cross the lines of the cultural norms to give birth to tunes like “Mad Over Me”, Morning Ride and more. He, like King Stitt, was crowned “King” at the peak of his career by his peers.

Our culture has produced many icons, kings in their own right, as each generation from the 1960s through to the 2020s will all have their personal favorites.

Ninja Man, Super Cat, Shabba Ranks, Buju Banton, Beenie Man, Bounty Killer, Sizzla, Capleton, Vybz Kartel, Mavado, Alkaline; I’m sure there are many more who can be added to the list.

So, who is the King of the Dancehall?

Beenie Man

I’ve worked with both Beenie Man and Vybz Kartel. Both are extremely talented, calculated, and, not to mention, two of the hardest-working artists in the genre.

However, I don’t think there should even be a debate on this matter. Here’s why.

A King, like a president or any great leader, has a limited time to reign. Absolutely no king reigns for eternity. The logical conclusion would be to pass the proverbial crown to The World Boss - Vybz Kartel. Beenie Man had a phenomenal run and still manages to maintain a career based on numerous hits recorded between the 1990s and 2000s. It is time to pass the crown to who is the most obvious next in line. Sidenote - Beenie Man was never officially crowned by his peers at any event; I’m just stating the facts.

Vybz Kartel has proven to be one of the most cunning, calculated, and controversial artists in our music. Yet his lyrical prowess is undeniable. Launching out with “inna mi Karl Kani, wid a bottle a cold Canei, tuff a lie?” Kartel was set to dominate. Before that, being booed at a live stage performance gave him the motivation and drive to step up his writing and performance skills. His rivalry with Mavado also made him realize that the only thing he was lacking was melody in his delivery of songs. Vybz was always clever and witty lyrically; however, adding melodic inflections was the icing on the cake. There was no stopping him.

Vybz Kartel

Kartel’s incarceration in 2011 had only set the stage to solidify his legacy as the King of the Dancehall. It was almost as if the entire world had transformed into his “Gaza Nation”, rooting for and anticipating his release.

In 2024, fans were eager and excited to take out personal loans and sell whatever they could just to be able to afford the cover charge of his first concert in Jamaica after his release. The anticipation didn’t stop there; it filtered to the diaspora within the US as well as to the super fans across the Caribbean and the rest of the world.

I would say that Adidja Palmer, aka Vybz Kartel, has checked all the boxes and achieved all the accolades that have solidified him as the current King of the Dancehall.

Sidenote – Vybz Kartel was crowned “King” by his peers at an event; I’m just stating the facts.

Who do you believe is the "King of the Dancehall"? Let me know in the comments.

And if you found value in this post, feel free to share.

Thank you for stopping by.