Mastering Drum n Bass: Expert Advice From 4 Established DJs and Producers
Explore the world of drum n bass with insights from four seasoned DJs and producers as they share essential techniques, sounds, and tips for crafting authentic tracks.
Drum n bass music came into prominence in the 1990's. DJs would take old funk drum breaks around 75 Bpm and speed them up past 160 Bpms. This created a new sound that was frantic and outrageous.
Probably one of the most famous drum n bass breaks is the 'Amen' drum beat.
I spoke to 4 DJs/Producers on how to make authentic drum n bass music.
Stranjah
Photo credit: https://www.instagram.com/kawasakifilm
Stranjah has been making electronic music since 1996. His music has been featured on respected labels such as Metalheadz, Hospital Records and Critical Music to name a few. He has over 100k subscribers on YouTube.
What is the most important factor when creating drum n bass music?
I’d say the most important factor is balancing the technical side with the human essence—the yin and yang of DnB. It’s a very technical genre, and having strong production skills is crucial, but it’s equally important to evoke emotion and vibe.
Whether it's through melody, drums, basslines, or even vocals, the music should make people feel something. It’s that emotional connection, that physical and emotional response on the dancefloor, that separates a technical soundtrack from one that truly resonates with an audience.
See my video about the Yin and Yang of DnB
Do you have specific drum sounds when creating this music?
Absolutely. I often gravitate toward classic breaks like Amen, Tighten Up, Think, and some lesser-known ones, while also tagging my favorite percussive one-shots. I prefer tight kicks and snares to keep the rhythm sharp.
I’ll usually process breaks with EQ, saturation, and compression, then layer them with my own one-shots to create a more modern, refined sound. This technique of combining vintage samples with new kicks and snares is crucial to achieving that gritty yet polished edge that defines much of my work—a balance between retro and modern.
Each track gets its own unique twist on the drums, depending on the vibe I want to evoke.
Drum & Bass music is notoriously fast. What should people know about speeding up the music they have written?
When speeding up music to DnB tempos, it's crucial not to lose the original track's essence. You need to adapt the groove in a way that works at a higher speed. Techniques like time-stretching vocals and properly adjusting other elements are key to maintaining the vibe.
Focus on spacing out your patterns rather than cramming too many notes into a short window. Percussion should feel natural at the faster tempo, evolving with the rhythm rather than sounding rushed or mechanical.
Don’t be afraid to rework the arrangement—what flows at 130 BPM might need changes at 174 BPM. Often, simplifying the track and removing unnecessary sounds helps it breathe better at higher speeds—less is more.
It’s a very technical genre, and having strong production skills is crucial, but it’s equally important to evoke emotion and vibe
Do you have recommendations for plugins for bass or synth sounds for people who want to create legitimate-sounding Drum & Bass music?
For bass, Serum is a must-have, offering extensive control over modulation and waveforms—perfect for creating the deep, growling bass sounds that define DnB. I’ve also created Gnarly Vol. 1 and Vol.2 Serum preset packs, which can be a helpful resource for producers looking to explore and push their bass design further. If you’re on a budget, Vitalis is another excellent option that still provides top-tier sound design flexibility.
When it comes to synths, the Access Virus was an iconic synth 25 years ago, and I even did a comparison between its emulator and hardware to show how close the sound can get. But software synths have really progressed, and they can do so much more these days. Modern synths like Pigments and Massive X give you incredible flexibility for crafting leads and atmospheric elements.
Minimal Audio's Current is another standout, as it brings together the best of subtractive, FM, and even granular synthesis for a truly versatile sound design experience.
What projects are you currently working on?
Right now, I’m working on my Vaults Sample Pack, which is a collection of all my legacy samples that I’ve created from 25 years ago. It includes signature breaks and bass sounds that have been key in shaping my sound over the years.
Additionally, Gnarly Vol. 2 is already out and available for anyone looking to push their DnB production further.
I’m also developing something special for producers who want to become full-fledged artists, where I’ll be sharing over 28 years of knowledge—stay tuned for more on that.
If you're looking to find my products and tools for drum and bass production, you can head over to www.deviantaudio.com/shop. There, you'll find a wide range of resources, including sample packs, preset collections, and other tools designed to help you take your production to the next level.
Whether you're just starting out or are a seasoned producer, these tools will give you the sounds and flexibility to create professional, cutting-edge DnB tracks.
Finally, be sure to follow me on all your favorite platforms:
Instagram / YouTube / TikTok / Facebook / Soundcloud / Spotify
John 'Hooves' Clayton
With a music career spanning twenty years, John 'Hooves' Clayton draws on experience to create music genres from Jazz to rock to funk and to electronica. He runs a 5-star music recording studio in Melbourne Australia.
What is the most important factor when creating drum n bass music?
This is a difficult question to answer because drum and bass, and jungle can come in so many different flavors and colors and can have so many different personalities.
I think the one feeling that is key to all drum and bass is momentum.
Do you have specific drum sounds when creating this music?
Everyone who makes any kind of electronic music will have their favorite drum sounds. There are so many amazing libraries out there, it’s never been easier to find incredible drum sounds to work with.
The best tip I can give to anyone starting out making drum and bass is to shorten your drum sounds. The music moves so quickly that you need to use drum sounds that are short and snappy and don’t take up too much space in the mix.
Get familiar with the amp envelope controls in your drum sampler.
Drum n bass music is notoriously fast. What should people know about speeding up the music they have written?
Apart from the drums which are generally the fastest moving part of a tune, try thinking about your ideas – basslines, melodies, etc as being at half tempo to the drums. If you write your ideas at 120bpm and then speed them up, they’re going to sound like slow ideas that have been sped up!
Try thinking about the feelings of hip hop and reggae maybe slowed down and bit and the double time drums added over the top.
The best tip I can give to anyone starting out making drum and bass is to shorten your drum sounds
Would you say Drum n Bass is not as popular as it once was?
I think it’s more popular than it’s ever been. I hear it on Tripple J all the time now and some of the big events in Melbourne like The DOT or Snake Pit are the biggest and most rocking regular parties I’ve ever seen here.
Do you have recommendations for plug-ins for bass or synth sounds for people who want to create legitimate-sounding drum n bass music?
I just use Massive (V1), Serum, my Virus Ti, Vital, and a few other random bits. There are so many presets out there for those you can’t go wrong.
Obviously, the Virus is a nice piece of hardware but even if I didn’t have it I could do just great with those three VSTs.
What projects are you currently working on?
I just finished a ravey jungle remix for The Shottaz that I’m really happy with. I’m in the throes of moving house right now and my studio is packed up.
But when I get set again, I’m looking forward to finishing and couple of nice techy rollers that I hope to get on 8Ball Audio. Those guys are totally killing it with their label.
Connect with John 'Hooves' Clayton
Website / Facebook
Jungle Drummer
The jungle drummer is an accomplished musician who plays jungle and drum n bass music live. This takes an incredible level of technical ability and musicianship.
He has released several sample/loop packs on various labels.
What is the most important factor when creating drum n bass music?
Understanding the music is the key, especially when you are out on a dancefloor whether you're a producer, mc, drummer, or fan this is how you begin to understand what sections of tracks work in front of a crowd.
Additionally to this listening to different styles of music outside of DnB helps you combine and fuse styles together.
Do you have specific drum sounds when creating this music?
If I'm using acoustic drums I'm approaching it by getting them to have a jungle DnB sound by adding compression with percussion etc, and tuning drums to records.
If I'm playing samples I'll choose drums that are relevant and have strong production and dynamics. For samples, I recommend Splice and DnB producers like DJ Crystal.
Drum n bass music is notoriously fast. What should people know about speeding up the music they have written?
It has to sound good and fit, whether you speed up drums, chop them up, or use samples at 160-174 bpm.
Production has gone so far that you have to match whatever you're constructing to what is now making it onto jungle DnB tracks.
Understanding the music is the key, especially when you are out on a dancefloor whether you're a producer, mc, drummer
Would you say Drum n Bass is not as popular as it once was?
I think it's the most popular it's ever been due to a younger audience embracing Jungle and DnB and it's now popular with all age groups.
Do you have recommendations for plug-ins for bass or synth sounds for people who want to create legitimate-sounding drum n bass music?
I would recommend Serum, Massive, and synths like Vital.
What projects are you currently working on?
I'm launching my label, DrumLab, by doing a track a week from Nov 30th. I have a residency at Folklore in east London where I'm playing live jungle DnB sets.
I'm also working with Splice, which I'm very excited about, as I'm doing some special releases and am working on a live show for next year with pioneer A Guy Called Gerald.
Connect with Jungle Drummer
Facebook / Instagram / TikTok / YouTube
Dizz1
Dave Norris, widely known as Dizz1, is a Melbourne-based creative luminary who has left an indelible mark on the world of bass music. His journey began as a turntablist, producer, and drummer, where he developed a unique “feel” that transcended scratching, drumming, and programming those signature sideways beats.
He has produced tracks for iconic artists such as Roots Manuva with the mesmerizing “Here We Go Again” and Aloe Blacc’s soulful “Everyday Grind.” These collaborations stand as a testament to his exceptional talent and creativity.
What is the most important factor when creating drum n bass music?
For me, the most important elements are dirty drum breaks and a saturated 808.
As a drummer, I was instantly captivated by the chopped, frenetic drums in the jungle and rave music when I first heard them, and I’ve been chasing that raw energy ever since!
Do you have specific drum sounds when creating this music?
During the COVID lockdown, Danny Breaks and I started a long-distance “vintage drum recording project” to keep ourselves entertained. Fortunately, I had just finished building a beautifully tuned, soundproofed garage studio a few months before everything went pear-shaped (I’m based in Melbourne, Australia, so we copped it extra hard).
Every morning, I’d wake up to emails from Danny with interviews and forum posts from engineering legends, sharing techniques, mic setups, and preamp choices. I’d then experiment with recording my 60s Ludwig Club Date kit in different ways and send the results back to Danny for feedback.
He’d often return them with a new beat idea, further processing the recordings. It was a great way to stay sane and build a library of unique-sounding drum breaks.
Drum n bass music is notoriously fast. What should people know about speeding up the music they have written?
I tend to lean towards a “less is more” approach, so as long as you’ve got dirty drums and a simple 808 bass line, you’re good! Take Dillinja as an example—I always loved how he kept the bass lines restrained, similar to reggae, letting the drums take center stage while the low end fills in the gaps.
One way to approach the speed is to think of 170 bpm as half-time, essentially 85 bpm. A lot of my older Dizz1 hip-hop tracks were drum and bass-influenced but played at half-time. As a hip-hop head growing up, I always wanted to fuse that half-time feel with drum and bass.
Back in the early ’90s, my mate DJ Spinfx and I would bring an extra turntable to raves, mixing double-time jungle with half-time hip hop in our sets. We were doing this long before the scene was ready for it!
I tend to lean towards a “less is more” approach, so as long as you’ve got dirty drums and a simple 808 bass line, you’re good!
Would you say Drum n Bass is not as popular as it once was?
I think it’s still quite popular, at least from what I see. There are so many different sub-genres that have branched off over the years, keeping the scene alive and evolving. Here in Melbourne, we have raves at least once a month. Shout out to Ben LQ from Echo Chamber Records, who runs the regular night Run It Red, which mainly focuses on the jungle. And of course, Jerry Poon from The Operatives has always had his finger on the pulse, throwing heavy parties that feature both the old and new styles. The scene is still very much alive!
For synths, Serum is the go-to—it’s incredibly versatile and handles everything well. If you’re looking for a free alternative, Vital is a similar version, and both are perfect for making big tunes. There are also tons of presets available on Splice, so you can dial in that “tear out” sound quickly. Plus, YouTube is a fantastic resource for tutorials, especially if you’re trying to learn some banana modulation techniques.
I’ve been an Ableton Certified Trainer since 2008, teaching everywhere from one-on-one sessions to SAE, so I cover these topics in depth if that’s what a student wants to learn. As for effects, Ableton’s new Roar saturator is awesome, Izotope Trash 2 can do just about anything, and Plugin Alliance’s Black Box can really heat up an 808.
What projects are you currently working on?
These days, I’m primarily focused on mixing and mastering other people’s music. I’ve got a beautifully tuned room equipped with Amphion Two18s and the Base25 stereo extension subs, all dialed in with the Trinnov system, so I can hear exactly what’s going on without worrying about translation issues. I also use some incredible outboard gear, like the Neve Orbit 5057 summing mixer and the DW Fearn VT-5 tube EQ, which adds amazing warmth and depth to anything you run through it.
In addition to mixing and mastering, I’m producing music for various vocal artists, helping them refine and elevate their projects. I’ve also been working on some new drum and bass tracks that I hope to release in the next few months, time permitting.
I’m also a session drummer and love recreating those old break sounds, so if you need drums for your tracks, hit me up!
Ultimately, my main focus is on mixing and mastering right now. If anyone out there is looking to take their music to the next level, send me your demos, and let’s chat! I’m open to working with any genre.
Connect with Dizz1
Website / Instagram / Spotify
About Magesh Magesh
Magesh is a musician and producer who has worked with Rihanna, Lionel Richie, Ricky Martin, Chris Brown, The Pussy Cat Dolls, Nelly Furtado, and Vernon Reid of Living Colour.
He released an instructional drumming DVD called "Unique Beats" where he mixed the drum kit with electronics and Indian hand percussion. He recently moved from Australia to the UK to explore new musical opportunities.
Website: mageshdrumteacher.co.uk
Contact Magesh Magesh at magesh.magesh7@gmail.com
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