>Step by step

Layering distortion to create a gritty, fat bassline

1 Let’s start with a fresh Cubase project set to 174bpm. I import a standard DnB drum loop for a percussive groove to follow. Next, I call up Albino 3 on an Instrument Track and program MIDI notes to accompany the beats. To give me a solid bass foundation, I select the Bass molecules preset.

2 Within the synth, alter a few parameters to get some Reece-style grit. I add two detuned Analogue oscillators for extra harmonics, and boost Filter 1 to highlight frequencies. Here, with basic amp and filter envelope tweaks, my raw bass sound has a subtle slow attack and quick release.

3 Now to my synth channel’s insert slots. I load iZotope Trash 2 first in the chain. Starting with the Trash module, I select the Sandpaper distortion type, then Lofi Arcade within the Convolve module. This emphasises the dry bass patch’s top-end harmonics and stereo content.

4 Next up, I reach for WOW2, adding movement using filter and LFO fluctuations. By choosing the LP 4 Pole Sat filter and assigning 1/6 step modulation to the Cutoff and Resonance, I can now adjust the cutoff knob to find that gritty ‘sweet spot’. I then add extra drive with the Hyperbolic distortion type.

5 Time to insert FabFilter’s Saturn and split the sound into low, mid and top bands. I keep the low end unaltered for clarity, but add slight tape saturation for warmth. For the mids, Saturn’s Old Tape modulated on 1/8th- notes sounds good. I use the same LFO for the top band, with boosted Tone/Level, switching to Warm

Tape for contrast.

6 Up next in the chain is another Trash 2. Here, I focus on the Trash and Convolve modules, using the Blues Driver distortion type – pushing Drive to 4.0 adds extra fatness. For richness, I call up an impulse response within the Convolve section: Helmet body type with a subtle mix of 20%.

7 For additional shaping, I’m using a volume-ducking plugin (Kickstart) to shape the initial hit of the bassline. I’ve set the mix to 50% so as not to overly mask the bass’s rhythm. Setting the note length to 1/2 works alongside the other modulated movements, and applying the

Extreme short envelope gives my ducking a rapid attack.

8 To rhythmically thicken out the sound as much as possible, the last distortion processor I’ve applied is another WOW2. An LP 4 Pole (Sat) filter is modulated with a sawtooth at a 1/4- note rate. This is assigned to the Cutoff and Drive. We’ve also swept the cutoff using automation, adding peak emphasis at various points.

9 Last in the chain, iZotope’s Ozone 8 Imager concentrates the spatial content of each frequency band. I’ve eradicated most of the sub- 100Hz stereo information to focus the bass’s mono depth, and boosted the upper-mid and top bands to expand the bass’s stereo width.

10 Now my distortion sounds fat, let’s enhance the bass’s character in parallel. After creating an FX Channel in Cubase, I send the bass signal to this aux return, which contains a FabFilter Timeless 2 flanger preset. By balancing the Send level and Timeless 2’s Wet and

Dry Mix amounts, I dial in the perfect amount of flanging.

11 Next in the FX Channel’s plugin chain is a chorus effect – specifically a gentle chorus preset from PSP Nitro. This modulates short delays in the peaks and notches of the frequency spectrum for extra wobble and movement. Here, I have the mix set to 90%, then I’ve boosted

Output for more level.

12 Finally, I insert Audio Damage’s Eos reverb on the aux. This gives treble ‘space’ and adds sheen. A small plate with a 20m Size and 2.5s Decay creates the spatial depth I want, while cutting from

2kHz eradicates low boom. A 15% Mix amount is enough. And for emphasis, I apply EQ boosts at 2kHz and 5kHz to help the aux signal poke through.