One of the hottest names in glitch hop, AMB has recently headlined shows in Paris, Tel Aviv, and London. Released an official remix to Opiuo along with Infected Mushroom, Fort Knox Five, Dirtyloud, an
Here we have another fantastic (free as always!) three part in-depth video tutorial for you. We are taking you through the full production of a Future Bass song from drums, sfx, arrangement and so on.
If you didn't know already, Future Bass is a genre that has risen to prominence very quickly, and mixes elements of chill out / lounge music, hip hop & trap and more. Also taking influence from opposing genres such as EDM, oldskool Euro-House, Synthwave and beyond!
There is plenty of room for musical growth in this exciting new movement, so why not have a play around with it? It really is an interesting mix of genres, and its just heating up!
We've been experimenting a lot with this sound vthrough ou exclusiver Future Koncept samples label, and have some really exciting Future Bass artist packs on the way too on Prime Loops (ultimate wink plug!) so keep an eye out for those.
This is the first in a three part tutorial taking you through the full production techniques, tips and tricks on making Future Bass. This tutorial uses samples from the best-selling Future Bass Vol. 1 sample pack from Future Koncept, however, you can use whatever you want to make your own song (obviously!).
There are some free samples you can download from this pack on the product page here if you wish (hit 'Download Taster Pack').
This tutorial is split into three parts: Drums, Bass, FX. Below are notes to accompany the tutorial as you go along. enjoy!
1. Freely use different combinations of loops and one shots - if you feel that snare isn’t pumping enough, layer another one over the top, just set the volumes right!
2. Putting claps on every beat is a really good way to add some energy, especially when building in to a switch up.
3. Layering splashing sounds over some snares or claps can really add depth to your drums. In this case I’ve used an FX impact to enhance occasional hits and turn the drums into an atmospheric tool.
4. Deploying those typical Future Bass drilling hi-hats shout be used at just the right moment. I’ve used them over the second drop to push the beat along and pick up the energy.
5. Don’t clutter up your drums too much! It’s good to have detail and variation, but every space you fill with a drum hit is space taken away from your melodics and effects. Always ask yourself “Is this necessary”?
6. In the breakdown if you decide to have some drums, make sure they feel ‘lighter’ than the main drop. For example, if you’re using a Snare Drum in your main drop, use a Clap in the breakdown, or use an EQ to cut out the lower frequencies of your Snare. Strip out some of the kick drums and avoid using too many hi hats.
Bass shouldn’t be too complex, it’s there to add weight and a little bit of funk.
Make sure your Bass ties in with whatever your kicks are doing. If your drums drop out or do a nice fill you’d like to accentuate, then cut the bass out as well to give it maximum impact. I’ve cut the bass out at the start of each 4 bar loop and then brought it in with the snare on beat 3.
Make sure your bass stays nice and in key with everything else! When it all locks together harmonically your musical ideas can achieve maximum impact. This is easier when using sample packs as they tend to have the key written in to the sample’s title.
When working with longer held pads they can dominate your mix. An easy way around this is to use a Band Pass Filter (I’m using Ableton’s new Autofilter). Handily the Ableton Autofilter has an XY pad controlling Frequency and Resonance so I’ve recorded myself dragging the filter around with a mouse (make sure automation record arm is on - in Ableton this is the button to the right of the plus(+) sign on the top bar). By recording it live it gives it a nice human touch where I can follow the rest of the track by ear.
Don’t be afraid to use loads of short samples to create melodies. I’ve gone through this pack and pulled out tons of melodic one shots and then spread them out and pitched them to create the melody.
To blend your melodic sounds together you mainly need to balance them in volume (adjusting the clip or track volume) and frequency (using an EQ to subtract anything necessary i.e. overly powerful mid range). Don’t be afraid to put reverb on one or two sounds too, but avoid drenching everything in Reverb as this will make your mix muddy and indistinct.
1. You might find your transitions sound a bit underwhelming, that’s because risers are vital! Every time you change section drop in at least one (though i’d recommend 2 or 3) rise building up in to the change. It helps to have a few of different lengths (maybe one 8 bars long, one 4 bars and one 2 bars. Make sure you turn them down though!
2. Sometimes if a section of your tune feels too empty you can fill it with FX and atmospherics rather than fully fledged harmonic or melodic material. I’ve done this in the breakdown by using a couple of rising white noise samples to add movement and depth.
3. If you want to make a feature effect pattern (e.g. bar 33) try and find a few sounds that compliment each other, even if it’s in an abstract way. Here I took a vocal snippet which says “drop”, followed by a water droplet sound and then an impact that sounds to my ears like it was made from a choir stab or something else vocal. That means there’s a logic as to why these sound sit so close to each other.
4. Vocal cuts and edits can really add some nice extra flavour in to your track. I’ve used the Sound Toys plugin ‘Little Alter Boy’ to automate in some pitch sweeps before the second drop and really emphasise the push and pull dynamics of the build up.
We hope you enjoyed that and come back for our weekly free magazine for more tutorials, artist features, interviews and tips and tricks. Be sure to sign up to our newsletter or like us on facebook to hear of new articles and sounds. Bye for now!