Osbourne Ruddock (28 January 1941 – 6 February 1989), better known as King Tubby, was a Jamaican sound engineer who influenced the development of dub music in the 1960s and 1970s.

[1][2] Tubby's studio work, in which as a mixing engineer he achieved creative fame previously only reserved for composers and musicians, was influential across many genres of popular music.

[4][6] It was popular due to the high quality of his equipment, exclusive releases and Tubby's own echo and reverb sound effects, at that point a novelty which had not been created outside of a studio setting.

[4] Reid, one of the major figures in early Jamaican music alongside rival Clement "Coxsone" Dodd, ran Treasure Isle studios, one of Jamaica's first independent production houses, and was a key producer of ska, rocksteady and eventually reggae recordings.

[4] Using existing multitrack master tapes—his small studio in fact had no capacity to record session musicians—Tubby re-taped, or "dubbed", the original after passing it through his 12-channel, custom-built MCI mixing desk, twisting the songs into unexpected configurations which highlighted the heavy rhythms of their bass and drum parts with minute snatches of vocals, horns, piano and organ.

One unique aspect of his remixes or dubs was the result of creative manipulating of the built-in high-pass filter on the MCI mixer he had bought from Dynamic Studios.

the "big knob"—which allowed Tubby to introduce a dramatic narrowing sweep of any signal, such as the horns, until the sound disappeared into a thin squeal.

[10] The original session was for a Jacob Miller song called "Baby I Love You So", which featured Bob Marley's drummer Carlton Barrett playing a traditional one drop rhythm.

When Tubby completed the dub, which also featured Augustus Pablo on melodica, Barrett's drums regenerated several times and created a totally new rhythm which was later tagged "rockers".