Use vocal chops with reverb and stutter effects for texture
Problem: lack of textural interest in bass section
Adding vocal chops with reverb and stutter effects can introduce a unique textural element to the bass section. The speaker demonstrates this by using a vocal sample, applying reverb, and using a stutter effect to create…
Use stem separation to isolate chord layers
Problem: difficulty isolating chord components for editing
Sam uses Ableton's stem separation feature to break down complex synth chords into individual layers (e.g., arpeggiated top notes, bassy root, mid-range chords). This allows precise editing of each frequency range. The…
Use detuned sine waves for UKG-style bass wobble
Problem: static, lifeless bass tone
UK Garage bass often uses two detuned sine waves (one at -25 semitones, one at +25 semitones) to create a phasing wobble effect. The detuning creates subtle frequency shifts that add movement and texture to the bass.…
UKG bass relies on subtle detuning for character
Problem: overly clean, sterile bass
UK Garage bass sounds often intentionally avoid perfect tuning. Detuning oscillators by ±25 semitones adds a gritty, organic character that defines the genre. This is a stylistic choice rather than a technical error, and…
Apply MG Low 24 filter with key tracking for dynamic resonance
Problem: flat, unchanging bass tone
Use an MG Low 24 filter with cutoff at 225Hz, high resonance, and drive. Enable key tracking so the filter becomes brighter on higher notes. This creates a dynamic, expressive bass sound that evolves with pitch. The…
Apply kick-triggered sidechain at 30% depth
Problem: bass competing with kick
Use a sidechain triggered by the kick drum at 30% depth to add rhythmic dynamics to the bass. This creates a pumping effect that emphasizes the kick's presence while maintaining bass continuity. The depth is set to 30%…
Avoid overusing outdated re-space bass trends
Problem: creating commercially viable bass sounds
While some re-space bass styles are still used, the speaker notes that one particular variant is nearing obsolescence. Producers should stay current with Beatport/Spotify trends to ensure their sounds align with what DJs…
Use detuned sine waves with unison voices for wobbly UK Garage bass
Problem: creating dynamic wobbly bass textures
Detuning two sine wave layers by +/-25 cents creates a phasing wobble effect. Adding two unison voices increases harmonic density while maintaining the wobble. This technique is central to the Sosa-style re-space sound…
Layer sub-octave with harmonic modes for deep UK Garage bass
Problem: achieving balanced low-mid frequency presence
Adding a sub-octave layer (2 octaves below the main tone) provides low-end weight. Switching to Serum's harmonic mode (e.g., 4th interval) adds upper harmonics for brightness. This combination creates the full-frequency…
Adjust bin sizes in wave tables to customize harmonics
Problem: generic preset sounds, lack of uniqueness
Modifying bin sizes in Serum's wave table allows precise control over harmonic content, enabling unique tonal shaping. This technique lets producers tailor the brightness and character of the bass without relying on…
Use envelope modulation on cutoff for plucky bass articulation
Problem: lifeless, static bass tones
Mapping an envelope to the cutoff frequency creates dynamic, plucky articulation in bass sounds. This technique adds rhythmic bounce by rapidly opening/closing the filter during note playback. The speaker applies this to…
Combine triangle/square waves with filters for brighter bass
Problem: dull, monotonous bass tones
Using triangle or square waveforms with a filter adds brightness and harmonic complexity to UK garage bass. The speaker demonstrates this by applying a filter to these waveforms, balancing the smoothness of sine waves…
Use fewer unison voices to enhance phasing effects
Problem: overly thick, unclear phasing effects
Reducing the number of unison voices in Serum increases the audibility of phasing effects. The speaker recommends using 4 voices instead of 7 to let the phasing modulation (from -25 to +25) create a more pronounced,…
Use MG Low 24 filter with portamento for glide
Problem: static, lifeless bass without movement
Adding an MG Low 24 filter and applying portamento creates a smooth glide effect on the bass. This technique is common in UK garage for adding movement and character to basslines. The portamento parameter allows for a…
Adjust width to 20 for stereo enhancement
Problem: narrow, flat bass lacking stereo depth
Increasing the width parameter to 20 enhances the stereo image of the bass, making it feel more expansive. This is particularly useful in UK garage to add spatial depth without losing the bass's punch. The adjustment…
Apply steep EQ cuts with varying pole filters
Problem: muddy, undefined bass frequencies
Using a steep EQ cut with filters that have varying pole settings allows for precise frequency shaping. This technique helps carve out unwanted frequencies without affecting the bass's core character. The speaker prefers…
Use three unison voices with zero detune for thickness
Problem: thin, weak bass lacking presence
Layering three unison voices at zero detune creates a thick, cohesive bass sound. This technique enhances the bass's presence without introducing phase cancellation. The speaker uses this in their presets to achieve a…
Detune saw waves by +7 semitones for harmonic richness
Problem: harsh, one-dimensional bass tones
Detuning two saw waves by +7 semitones creates a rich, harmonic texture. This technique is inspired by Chris Stussy's 'All Night Long' and is popular in UK garage for adding depth and complexity to basslines. The detune…
Apply plucky filter with envelope modulation
Problem: lifeless, static bass without articulation
Using an envelope to modulate a plucky filter adds dynamic articulation to the bass. This technique involves routing the envelope to the filter cutoff, creating a percussive, punchy effect. It's a common approach in UK…
Add ping pong delay with eighth-note timing
Problem: flat, static bass without spatial interest
Applying a ping pong delay with eighth-note timing adds spatial movement and rhythmic interest to the bass. This technique is effective in UK garage for creating a sense of space without overwhelming the low-end. The…
Use whole reverb for ambient depth
Problem: dry, lifeless bass without ambient presence
Applying a whole reverb adds ambient depth and a sense of space to the bass. This technique is useful in UK garage for creating a lush, atmospheric backdrop without muddying the low-end. The reverb should be used…
Use mono voicing and octave shifting for UKG bass
Problem: weak sub presence, lack of punch
Sam Smyers demonstrates creating a UK garage bass by setting the oscillator to mono mode and lowering the pitch by two octaves. This creates a punchy, sub-heavy foundation. The mono voicing ensures the bass sits firmly…
Add FM modulation to enhance bass texture
Problem: flat, lifeless bass tones
To create the 'Burgey 808' sound, Smyers uses FM synthesis with a sine wave oscillator. He lowers the pitch by two octaves and applies FM modulation (referred to as 'PD') to add harmonic complexity. This technique adds…
Adjust envelope release for rhythmic bounce
Problem: lack of rhythmic energy
Smyers modifies the envelope release time to control the spacing between notes in the bass. This is crucial for achieving the 'bounce' characteristic in UKG tracks. Shorter release times create tighter, more percussive…
Layer sine waves for 808-style bass
Problem: insufficient low-end thickness
The 'Burgey 808' sound is created by layering two sine wave oscillators. One is used for the main sub frequency, while the second is detuned and modulated with FM to add depth. This simple layering technique produces a…
Use filters to sculpt harmonic content
Problem: harmonic clutter, muddiness
Smyers applies a filter to remove unwanted harmonics from the bass sound, ensuring clarity in the mix. This is particularly important for the 'Burn the River' bass, where filtering helps maintain a clean, focused low-end…
Use EQ to refine FM-based bass tones
Problem: muddy or unclear bass frequencies
Adding EQ to FM-based basses helps carve out space in the frequency spectrum. This ensures the bass doesn't clash with other low-end elements like kicks or sub-bass. The EQ is used to enhance clarity and definition,…
Use FM synthesis with sine waves for UK garage basses
Problem: creating a full yet defined bass sound
FM synthesis creates a rich, textured bass sound when combined with sine wave oscillators. This approach is popular in UK garage for its balance of warmth and clarity. The sine wave provides a clean foundation, while FM…
Apply modulation to PD with a filter for dynamic bass shaping
Problem: static or muddy bass frequencies
Modulating the PD (likely a plugin like a filter or modulator) with a filter adds movement and texture to the bass. This technique introduces subtle frequency shifts over time, preventing the bass from sounding static.…
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…