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Although car audio systems have always played a part in Miami Bass, Car Audio Bass is a sub-genre of Miami Bass, sometimes called Techno Bass by producers (not to be confused with Electro Bass). It’s primary role is to accent car systems, usually at car shows.
DJ Magic Mike
The seeds of Car Audio Bass were planted in 1989 with DJ Magic Mike’s album instrumental track “Feel the Bass (Speaker Terror Upper)”. Unlike the remainder of the album, the track was minimal in production, featuring no rapping, no scratching, and little samples or sounds. The slower tempo made it clear this was not a traditional Hip-Hop track, nor Bass song for clubs. The tempo also allowed it to sustain longer bass notes, becoming immensely popular at car shows, where systems were usually demonstrated as another attribute of the car.
The following year, Dynamix II released the Similarly themed track “Purple Beats”.
Following Magic Mike’s debut, he released his sophomore album, “Bass is the Name of the Game”. The album varied in styles, encompassing Club Bass, scratch tracks, and more prototypes for Car Audio Bass. The album was a tremendous critical and commercial success, giving rise to much competition.
That same year, the first true Car Audio Bass album was released; Techmaster P.E.B.’s “It Came from Outer Bass”. Released on Newtown Music Group out of Sarasota, Florida, the album fell by the wayside, going largely unnoticed.
Techmaster P.E.B however came back with his next release “Bass Computer”. Essentially, this album set the blueprint for what Car Audio Bass would be. The label followed with another album under the alias “DJ Bass Boy” in 1992, and also led to an expanded re-release of “It Came from Outer Bass” dubbed as its sequel, “It Came from Outer Bass II” in 1993.
Years later, P.E.B. would team up with the man who had started it all, DJ Magic Mike, as they released two cd’s together. Namely “Back in Bass” and “Gods of Bass”.
His last cd dates from 2011 and is called “Tech Nolo G”. Using Phase shifting and time delay, all the tracks on this cd have P.E.B’s ‘Hologram’ 3D sound, designed to give a wider sound spectrum for car systems.
Quad Force and DJ Fury
The two acts that emerged to compete with Magic Mike at his game of bridging Bass styles were Tampa’s Quad Force and Orlando’s DJ Fury.
Quad Force’s debuted was released in 1991 with little fanfare on Underwood Records, but became an instant runaway hit with the growing car audio fans. The project became so popular that Darryl Underwood called Jacksonville, Florida record label Attitude and asked to to take over manufacturing and distribution of the product. In turn, Quad Force remixed the album to include new tracks while removing many fan favorites. After the explosion of Car Audio Bass in 1992, Attitude commissioned a pure Car Audio Bass album by Quad Force, as well as a Club Bass album under the name Party Boyz, both in 1993.
DJ Fury was the producer and DJ for the Orlando group “Brothers of the Struggle”, who had found regional success selling self-manufactured cassettes in Central Florida. Joey Boy Records signed the group, and rechristened them Bass Patrol — a name the label previously used for a 1988 Electro Bass project by Calvin Mills. Bass Patrol released “The Kings of Bass” in 1992, causing the label to reach a level of success they had not previously seen.
That same year DJ Fury also released his solo album “Furious Bass” on Joey Boy Records’ subsidiary “On Top Records”. This album had 12 tracks on it, all of them designed to bring the best out of car speakers. With songtiltles like “Boom contest”, “Speaker popper”, or “Neverending bass” you knew what you were in for. DJ Fury has worked on several movie soundtracks, album and remix projects over the years for various labels and artists like RX Lord, Half Pint, Miami Boys, D.J. Uncle Al, D.M.P., Men of Vision and many others. His last release dates from 2006 and was aptly titled “Competition bass”.
Car Audio Bass Explosion
As several artists realized these tapes and CDs could sell directly to the consumer at car shows, thereby raising the profit margin, an deluge of Car Audio Bass album hit the market in 1992. Many came from established Bass artists using aliases, such as Afro-Rican as Power Supply and DJ Laz and Danny D as Tekno-Master DL. On the other hand, entire camps sprung up to directly compete with Techmaster and Newtown, such as Bass 305 on DM Records. notably, each release used the word “bass” as often as possible, and labels usually included a false disclaimer that the frequencies are so intense that you are responsible for the damage it may cause.
Def Bass Krew
Captain D of the Def Rock Krew took the opposite approach. Joining forces directly with Techmaster P.E.B., he changed the group name to Def Bass Krew and combined his Second Wave Bass style with Car Audio Bass to release the hybrid album “Bass Party” in 1993, selling over 250,000 copies.
Billy E and IBP Records
Billy E started out installing and designing car audio systems afterschool at a car audio store in his hometown Jupiter. There he would play his selfmade Miami bass mixtapes in the soundroom to help sell woofers. Out of the many people Billy met there, it was none other than Jim Jonsin (then known as DJ Jealous J) who taught him how to use the drum machine to make his own Bass music. Not much later Billy E teamed up with his longtime friend and rep for Orion Car Audio, Ed Firestone. Firestone had just started a specialty label for Car Audio Bass named IBP, short for Innovative Bass Producitons. It was on this label that Billy E released his first cd “Nightmare on Bass Street”. It became an instant hit. Billy E would release another 4 cd’s for IBP amongst which the follow up “Nightmare on Bass Street II – He’s back” and the classic “Toxic Bass”. He’s also responsible for making IBP the once stomping ground for none other than Debonaire. “Nightmare on Bass Street” selling 75 thousand copies in the first 5 months caught the attention of Pandisc Records, were Billy would meet Neil Case, the Beat Dominator. Neil had an idea for a new style of Car Audio Bass cd that would include test tones to set your system up properly so you could get the most out of it. Together they would release a series of very popular Bass cd’s under the moniker “Bass Mekanik” and they are still active up to this day at www.bassmekanik.com.
Long time Miami Bass engineer Neil Case began monikers Beat Dominator and Bass Mekanik to corner much of the market, along with Keith Rosenberg of Vicious Bass/2 BMF and DJ Billy E.
–Draft in progress by PappaWheelie, B-Bart Weyden, and Tim “The Goofy One” Duffy