Automate filter cutoffs on chords and plucks to create contrast before the drop
Problem: lack of tension and release before the drop
Automating the filter cutoff on chords and plucks can create a sense of tension and release, especially before a drop. By gradually opening the filter, the track builds energy and anticipation. This technique is commonly…
Use automation on the group level to control multiple elements at once
Problem: inefficient automation of multiple elements
Automating parameters on the group level allows producers to control multiple elements simultaneously, making the mixing process more efficient. This is especially useful when creating tension and release in a track, as…
Use reverb washouts to reduce energy before a drop or transition
Problem: energy not properly managed during transitions
Applying a reverb washout can help reduce the energy in a section before a drop or transition, creating a smoother and more dynamic shift. This technique is useful for managing the overall energy of a track and ensuring…
Set the correct BPM in the warp settings to match the original track
Problem: timing mismatch between stems and track
When warping a sample or stem, it's crucial to set the correct BPM in the warp settings to ensure the timing aligns with the original track. This is especially important when using stems from other tracks, as mismatched…
Chop samples into fragments for percussive FX
Problem: lack of percussive elements
Cutting a sample into short, rhythmic slices allows it to be used as a percussive element. This is a foundational technique in drum and bass and techno for creating complex rhythms. The chopped fragments can be triggered…
Use extreme pitch shifting for sound design texture
Problem: lack of unique sound design elements
Shifting audio to extreme octaves creates unique timbral artifacts that can be used for risers, impacts, or atmospheric elements. This technique exploits the inherent distortion and aliasing in pitch shifting algorithms…
Layer a sub bass 808 with a crunchy D&B kick for depth
Problem: thin or muddy kick, lack of low-end depth
Using a deep 808 kick (sub-bass) and a shorter, punchier D&B kick creates a layered low-end with both weight and definition. The 808 provides sub frequencies below 40Hz, while the D&B kick adds attack and presence around…
Use a metronome to lock the tempo at 176 BPM
Problem: timing inconsistencies, loose groove
Setting the tempo to 176 BPM (a common drum and bass tempo) and using a metronome ensures rhythmic precision. This workflow step helps maintain groove and timing consistency, especially when layering complex rhythms.…
Place the snare on every other kick for rhythmic contrast
Problem: monotonous rhythm, snare buried in kick
Positioning the snare on alternate kick hits creates a tighter, more aggressive groove by emphasizing the off-beats. This is a common drum and bass technique to add rhythmic complexity and prevent the kick from…
Name your track 'gnarly drum and bass' to embrace the genre's intensity
Problem: lack of genre-specific energy
Adopting a mindset that aligns with drum and bass's gritty, high-energy vibe helps shape creative decisions. This mental model encourages producers to prioritize aggressive low ends, complex rhythms, and intense energy.…
Vary closed hat velocities for realism
Problem: lifeless, robotic-sounding drum patterns
Programming realistic drum patterns requires varying velocities to mimic human playing dynamics. By adjusting the volume of individual hits, the closed hats avoid sounding robotic and gain organic variation. This…
Use snare skip positions for rhythmic complexity
Problem: Predictable, flat rhythmic patterns
Implementing snare skip positions (typically on beats 2 and 4 in a bar) adds rhythmic tension and is essential for drum and bass grooves. This technique creates space in the rhythm section, allowing other elements to…
Prioritize sound selection for cohesive drum kits
Problem: Dissonant, unprofessional-sounding drum kits
Choosing compatible drum samples is critical for achieving a unified sound. Even well-programmed patterns can fail if samples clash timbrally. This principle emphasizes the importance of sonic cohesion in drum and bass…
Use Haas effect sparingly to avoid timing delays
Problem: timing inconsistencies in stereo imaging
The Haas effect creates stereo width by delaying one channel slightly, but overuse causes timing inconsistencies. The sweet spot balances mono compatibility and stereo separation. This is critical in fast-paced genres…
Use short decay room reverb for fast tempo tracks
Problem: reverb masking rapid drum patterns
For drum and bass's fast tempo, room reverb decay should be under 0.5 seconds to avoid masking rapid drum hits. This contrasts with slower genres like house, which use longer decays. The result is a more defined, punchy…
EQ out high mids on shakers for subtlety
Problem: overly aggressive shaker frequencies
Reducing high-mid frequencies (around 2-4kHz) on shakers prevents them from being overly aggressive. This allows the shaker to sit nicely in the mix while maintaining its rhythmic role. The result is a more balanced…
Use sidechain compression with rim shots for rhythmic ducking
Problem: clashing rhythmic elements
Triggering compressors on 16th-note loops with short rim shots creates rhythmic ducking. This adds movement and ensures the shaker doesn't clash with other elements. The result is a dynamic, groove-driven rhythm section…
Use Ableton's Amp plugin for textural enhancement
Problem: bland percussive textures
The Amp plugin adds saturation and harmonic distortion to shakers, creating a 'sizzling' texture. This is particularly effective for adding character to percussive elements. The result is a more aggressive,…
Establish key before programming bass and melodies
Problem: harmonic inconsistencies
Defining the key (e.g., Phrygian mode) before programming bass and melodies ensures harmonic consistency. This workflow prevents clashes between bass notes and melodies. The result is a more cohesive, musically coherent…
Use Phrygian mode for 'evil' Drum and Bass tones
Problem: inappropriate harmonic choices
Phrygian mode (fridgy in mode) provides a dissonant, tense sound ideal for Drum and Bass. This choice informs the key selection for bass and melodies, creating a cohesive sonic identity. The result is a more aggressive,…
Use wavetable modulation for dynamic texture
Problem: static, one-dimensional synth sounds
Instead of relying solely on filters for dubstep-style wubs, modulate through interesting wavetable shapes cyclically. This creates evolving textures that add depth and movement. The process involves trial and error to…
Use unison and detuning for stereo width
Problem: narrow, mono-sounding synths
Apply unison with detuning to synth patches to create stereo width and a richer sound. This technique is particularly effective for adding depth to leads and pads in drum and bass. It should be used in conjunction with…
Modulate distortion amount with LFO for movement
Problem: lifeless, static distortion effects
Assign an LFO to control the amount of distortion applied to a synth. This adds dynamic, rhythmic variation to the sound. The technique works well with neuro-based or hyperdimensional textures, creating a sense of motion…
Cut sub-bass frequencies to avoid low-end muddiness
Problem: muddy, unclear low-end frequencies
Remove frequencies below 120Hz in synth patches to prevent clashing with the sub-bass. This ensures clarity in the low end and avoids frequency masking. The technique is critical in drum and bass to maintain separation…
Avoid overusing OTT in neuro-based genres
Problem: overuse of OTT leading to harshness
While OTT can add character to drum and bass sounds, it’s easily overused and can lead to harsh, fatiguing textures. Use it judiciously, especially in neuro-based or hyperdimensional styles where subtlety is key. This is…
Use OTT to boost high frequencies and add air
Problem: lifeless, dull high frequencies
Apply OTT (Overdrive Tool) before EQ to enhance high frequencies and add brightness. This technique is often overused but can work effectively in drum and bass for adding sparkle and presence. It should be used sparingly…
Select aggressive vocals for intensity
Problem: vocals too soft for the track
Choosing vocals with a raw, aggressive tone (e.g., UK drill or UK rap) matches the intensity of drum and bass. This avoids the clash of soft vocals with heavy beats. The speaker emphasizes vocal selection as a critical…
Tune brass samples precisely using transpose and semitone adjustments
Problem: mismatched pitch between sample and track
The speaker demonstrates tuning a brass sample to hit a specific note (C) by adjusting transpose settings. This requires understanding semitone relationships (e.g., C is four semitones below E). Precise tuning ensures…
Avoid boomy snares; use tight, clipped snares for this style
Problem: muddy or indistinct snare sound
The speaker explicitly warns against using 'big, boomy snares' for drum and bass. Instead, they recommend tight, clipped snares that snap and cut through the mix. This is a genre-specific choice that aligns with the…
Use minor key or friggy in mode for evil-sounding atmosphere
Problem: lack of atmospheric tension in the track
Drum and bass often uses minor keys or friggy in mode to create a dark, aggressive mood. This mode choice influences the entire track's vibe, from basslines to synth riffs. The speaker emphasizes that this tonal choice…
Stack modulated basses with interplay, not all playing together
Problem: muddy or chaotic bass section
Multiple modulated basses should be layered but not played simultaneously. The speaker demonstrates how they interplay with a 'cool and response relationship' to avoid chaos. This technique creates complexity without…
Apply clipping/distortion on drums early in the signal chain
Problem: lack of aggressive, punchy drum sound
The speaker emphasizes adding aggressive clipping and distortion to drums before the master channel. This creates a 'cumulatively louder mix with lots of aggression' by increasing perceived loudness and adding harmonic…
Double/triple waves for faster rhythmic editing
Problem: time-consuming manual duplication of wave segments
Using the 2X and 3X buttons in ShaperBox duplicates the selected wave segment, creating mirrored or stretched patterns. Holding shift while tripling adds a third copy, enabling rapid creation of complex rhythmic…
Use Spiff for transient shaping with unique capabilities
Problem: limited transient control
Spiff is highlighted as a transient shaper with distinctive features, priced at $149. Its unique approach to transient control makes it a niche but powerful tool for producers looking to add punch or sustain to drums and…
Add 16th-note hi-hats for rhythmic emphasis
Problem: hi-hats lack rhythmic interest
Program 16th-note hi-hats with a lagging, 'stutter' effect using a delay plugin (e.g., Waves H-Delay). Set the delay time to 10-20ms with 50% wet. This creates a sense of motion and adds rhythmic complexity to the…
Remove first two notes for more groove
Problem: predictable, boring rhythm
Omitting the first two notes in a pattern creates a more interesting rhythmic feel. This is a common trick in drum and bass and jungle to avoid predictable phrasing. The technique adds syncopation and makes the bassline…
Use a glue compressor on drum groups to glue sounds together
Problem: drum group lacks cohesion, kick buried in mix
A glue compressor (like an SSL bus compressor emulation) is used to unify the dynamics of a drum group (snare, cymbals). It creates cohesion without squashing the kick, which needs to remain punchy and dominant in EDM.…
Use garage-style hi-hats with MIDI velocity variation
Problem: lifeless hi-hats, overly mechanical rhythms
Garage drum patterns benefit from randomizing hi-hat velocities to avoid a mechanical sound. The speaker demonstrates using MIDI notes with velocity adjustments in Ableton's MIDI editor. This technique adds human feel to…
Group drums and apply EQ8 to filter highs collectively
Problem: Managing drum frequencies and ensuring cohesive high-end filtering
By grouping all the drums and applying an EQ8 to the group, you can filter out highs across all drum sounds simultaneously. This ensures consistency in the frequency spectrum and avoids manually adjusting each drum…
Automate EQ to adjust drum levels during build and drop
Problem: Creating dynamic build-up and drop transitions
Automating the EQ to reduce drum levels by 3dB during the build and restore them during the drop creates a dramatic dynamic contrast. This technique enhances the impact of the drop by making the transition from build to…
Use resonance in EQ to enhance filter character
Problem: Adding character to filter effects
Increasing the resonance parameter on an EQ filter makes the cutoff more pronounced, adding a sharper, more defined character to the sound. This is useful for creating a more dramatic or textured effect in the frequency…
Add delay to create atmospheric texture
Problem: Adding depth and atmosphere to the mix
Applying a delay effect to a track adds spatial depth and atmospheric texture. This technique is particularly useful for making a sound feel more expansive or 'weird,' which can enhance the mood and complexity of a…
Scoop lows and highs on new tonal elements to avoid clashing
Problem: Avoiding frequency clashes in the mix
When introducing a new tonal element (e.g., a MIDI-based pad), use EQ to scoop out lows and highs that might clash with existing elements in the mix. This ensures the new sound sits well in the frequency spectrum without…
Set tempo to 174 BPM for Drum and Bass
Problem: inappropriate tempo for genre
Drum and Bass typically uses tempos between 160-180 BPM. Setting to 174 creates a balanced groove that allows for complex rhythms and basslines. This tempo choice ensures the track feels energetic but not overwhelming, a…
Use MIDI tracks for building snares in Drum and Bass
Problem: inconsistent or flat build sections
Creating a 'building snare' on a MIDI track allows precise control over timing and velocity, which is essential for crafting dynamic, tension-building sections in Drum and Bass. This approach ensures the snare can be…
Freeze and flatten drone samples for background texture
Problem: unmanageable or too-present drone textures
Freezing and flattening a drone sample in Ableton converts it to an audio clip, making it easier to manipulate with effects like EQ. This technique is useful for creating atmospheric backgrounds in Drum and Bass, where…
Scoop low frequencies in background drones for clarity
Problem: muddy or competing low-end frequencies
Reducing low-end frequencies in background drones prevents them from clashing with the bass and kick drum in Drum and Bass. This ensures the drone remains subtle and atmospheric, allowing the low-frequency elements to…
Use sweeps from sample packs for transitions
Problem: time-consuming or low-quality transitions
Incorporating sweeps from sample packs (like 'cashmere sweep') provides quick, high-quality transition elements for builds and drops in Drum and Bass. This avoids the need for complex synthesis and ensures the track…