As the yet unnamed genre evolved, the use of sampled funk breakbeats became increasingly complex. Most notable and widely spread is the Amen break taken from a b-side funk track "Amen, Brother" by the Winston Brothers (The Winstons). During this time producers began cutting apart loops and using the component drum sounds to create new rhythms. To match the complex drum lines, basslines which had less in common with the patterns of house and techno music than with the phrasings of dub and hip hop began to be used. As the beat-per-minute range rose above 165, the emerging drum and bass sound became incompatible for straightforward DJ mixing with house and techno, which typically range dozens of beats-per-minute less (making it impossible to play the tracks at the same speed on club equipment). This sonic identity became highly distinctive for both the depth of its bass and the increasingly complex, rapid-fire breakbeat percussion. Vastly different rhythmic patterns were distinctively being used, as well as new types of sampling, synthesis and effects processing techniques, resulting in a greater focus on the intricacies of sampling/synthesis production and rhythm. This notably included early use of the time stretching effect which was often used on percussion or vocal samples. As the influences of reggae and dub became more prominent, the sound of drum and bass began to take on an urban sound which was heavily influenced by ragga and dancehall music as well as hip hop, often incorporating the distinctive vocal styles of these musical genres. This reggae/dancehall influenced sound is most commonly associated with the term jungle.