Photo: Angie Linder, CC BY-SA 2.0. Illustrative where it does not show the subject of the story
Listen to a drum and bass record and you hear dozens of sounds. But almost everything rests on three: the break, the sub and the Reese. Understanding them gives you a way into the music, whether you want to make it or just hear it better.
The break
The first is the drum pattern. Wikipedia describes jungle as characterised by rapid breakbeats and heavily syncopated percussive loops, and notes that many producers frequently sampled the Amen break or other breakbeats from funk and jazz recordings. The break is the energy of the track, the part that makes people move.
Producers treat the break in many ways. Some chop it into slices and rearrange them. Some layer it with extra kicks and snares. Some programme a pattern from scratch, in the style of the old breaks. Whatever the method, the aim is a rhythm that swings, with small variations that keep it alive across a long track.
The sub
The second is the sub bass, the lowest sound in the track. It is often a clean, simple tone, a sine wave, that provides weight and carries on a big system. It is felt more than heard. On a good rig, it moves your chest.
The sub has to be treated carefully. Too much and it swamps the mix; too little and the track lacks power. Producers keep it mostly in the centre of the stereo field and make sure it does not clash with the kick drum. Many check their tracks on several systems, including small ones, to ensure the bass translates.
The Reese
The third is the Reese bass, the thick, buzzing sound in the low mid range. It is named after the 1988 record Just Want Another Chance by Reese, one of the aliases of the Detroit producer Kevin Saunderson. It is made by detuning two or more oscillators slightly, producing a movement and growl, and is often filtered and distorted.
Wikipedia's account of techstep adds context: techstep saw jungle's obsession with bass change from aiming for low and deep to exploring timbre, with artists competing to outdo each other with ever more distorted and twisted bass sounds. The Reese became the raw material for that exploration.
How they fit together
A good track makes room for all three. The sub carries the lowest frequencies. The Reese fills the range above it with character. The break sits on top, with its snare and hi hats cutting through. Each occupies a different part of the frequency spectrum, so that the track is full without being cluttered.
Experienced producers say that mixing is largely a matter of deciding what each sound is for and removing anything that fights it. That might mean cutting the low end from the Reese so that the sub has space, or ducking the bass under the kick.
What this means for the listener
Next time you listen to a track, try to pick out each sound. Follow the break through a bar, then the sub, then the Reese. Notice what each does and how they interact. It is a way of hearing the craft, and it will make you a better listener.
