for the response to Sleng Teng's first public performance. The song was unleashed as part of a now-legendary sound clash between Jammy's own sound system and the Black Scorpio at Waltham Park Road on February 23, 1985. Jammy won the clash by acclamation, with the audience demanding "Under Me Sleng Teng" be played over and over. Jammy formally released this version a week later as a single on his own label. Jammy also recorded a number of other artists (in addition to Wayne Smith) on this Sleng Teng backing track. These included Tenor Saw (with "Pumpkin Belly") and Johnny Osbourne (with "Buddy Bye"). The Sleng Teng riddim went on to spawn nearly 500 cover versions. Its success is widely credited with single-handedly transitioning reggae from analog to computerized production. This transition to digital music production using synthesizers, drum machines and samplers follows the computerization of hip-hop music, which, like reggae, had been recorded with a band and traditional music instruments. Given the lasting consequences of the Sleng Teng riddim, the MT-40's "rock" preset has been the subject of considerable speculation. The MT-40 "rock" preset The famous preset was composed in 1980 by a then newly-hired music engineer at Casio, Okuda Hiroko. She was assigned to create several of the MT-40 consumer keyboard's presets, among them a "rock" rhythm. Okuda had been hired fresh out of music school, where she had produced one of Japan's first graduate theses on reggae. In 2022 she described herself as having been immersed in reggae for several years before her 1980 hire by Casio (the previous year, during Bob Marley's only visit to Japan, Okuda had attended more than three performances from the tour). Tellingly, the "rock" preset is not usable at a normal rock and roll tempo (around 172 bpm). Only when the tempo knob is turned down to the 80-110 bpm range, home to reggae and dub, does it become possible to play an accompaniment to the "rock" preset. Okuda only learned of her part in "Under Me Sleng Teng"'s global success in August of 1986, when she read an article titled “The Sleng Teng Flood” in Japan's Music Magazine. The article described the wave of dozens and dozens of reggae songs being produced in Jamaica, all based on a Casiotone keyboard preset. After the worldwide success of Sleng Teng many speculated as to the ultimate source of the "rock" preset. At first