How skrillex makes his basslines

How to Make Skrillex’s “Make It Bun Dem” Bassline

In this tutorial I’ll show you how to recreate that high pitched wobble bass used by Skrillex in the first half of his track «Make It Bun Dem». I’ll help you to understand the techniques used to create this kind of sound, and apply them to any other software you may use.

Here’s a preview of the patch that we’ll build:

Overview

We’ll build this bass line in three big steps:

1. General Setup

Before beginning to actually build the sound, let’s pay attention to some details that will make our building process more effective. Working with initialized patches by default will save a lot of time. This setting can be made from the menu, by going to Edit > Preferences > General and uncheck Load default sounds in new devices. Also, to keep the workspace clean, we’ll work inside a Combinator.

Create an MClass Maximizer, a Line mixer 6:2 and an instance of Thor. The routing should look like this:

As you may already know, we’ll need the mixer later, when we’ll add the sub bass and another version of the main sound.

2. Timbre

The whole timbre will came from Thor1, by making some frequency modulation between its oscillators. Its high pitched nature is due to the modulators high octave value

Step 1: Oscillators

Oscillator 1 will be used as a carrier, and the other two as modulators. The first oscillator will be a Wavetable Osc, with the MixedWaves 1 wavetable selected, octave three, and Pos to 34. The second oscillator will be also a Wavetable Osc, but with the Basic Analog wavetable selected, octave to eight, and Pos to maximum. The last one will be an Analog Osc set on octave eight, with a square waveform, and its PW (Pulse Width) to 22.

This is how it sounds:

Step 2: Modulations

On the left side of the modulation matrix, do the following routing:

Notice the modulation between LFO1 and CV Out1. This connection will allow us to synchronize the sub bass with the main sound movement, by using the same signal source.

To create the wobble effect, we’ll modulate the gain by LFO1 signal. Also, by using the same LFO1 to modulate the pitch of each oscillator, the sound will have more personality.

It should sound like this:

Step 3: Filters

We’ll use the filter routing only to create another version of the sound that is smoothly altered by a Comb filter. In order to do this, bypass Filter1 and enable Osc1 to the second filter. Make Filter2 a Comb Filter with the drive set to 50 and frequency to 7.62 kHz. Since we don’t want frequency knob to change over time, turn down to zero the Env and Vel rotaries. To send the sound to the outputs, enable the Filter2ToAmplifier button.

It should sound like this:

Step 4: Adjustments

Before leaving Thor, let’s take care of the details, to achieve the maximum potential of our patch. First, enable the Shaper, change it to Hard clip, and increase its drive amount to 39. In the LFO1 section, enable both Key sync and Tempo sync, and increase the rate value to 1/8T. Enable the Chorus to start gaining some movement in the stereo field, and reduce the dry/wet amount to 18. Lastly, in the Amp section, turn the Decay and Sustain all the way up, to have a constant gain over the time, and increase the Attack time to 40.7ms.

It should sound like this:

3. Processing

By now, it sounds pretty interesting, but also very muddy. Let’s make it cleaner by applying some discreet distortion, and EQ it a bit.

Step 1: Scream 4

Create an instance of Scream 4 right under Thor. We don’t want to destroy the sound by too much distortion, only to add some personality to it, just like we did inside Thor. Turn down the Damage control to 30, and the damage type to Overdrive. Set P1 to maximum and P2 to two.

Step 2: EQ

Create an MClass Equalizer, and enable its Param1, Param2, and High Shelf. For Param1 turn down the gain to -6.6dB and its Q to 1.4 to eliminate those unneeded mid frequencies. For the Param2 only reduce the gain to -6.9, for a much cleaner presence of the sound. In the High Shelf, just turn up the gain rotary to 1.7dB.

It should sound like this:

4. Stereo Imaging

A very important step in the song mastering process is stereo imaging, and of course, for satisfying results, each instrument should have its own amount of stereo activity. A well made Combinator patch or, in general terms, a good sound design represents the most important part of electronic music production, so we have to take care of every aspects of our sound.

Step 1: Splitting

Usually, just inserting some MClass Stereo Imagers would be enough, but in this case these devices simply will not work that easily. That is because they need stereo signal, and our sound is more like a dual-mono signal. This problem can be solved by doing some parallel processing, and thanks to Reason’s routing, we can do it very easily, by splitting our initial sound into two parts. The first one will remain unaffected, but the second one will be processed a little more. These two parts will be merged together by the line mixer.

Step 2: Expanding

So far so good. Flip the rack again, so we can configure these devices. For the UN-16 Unison just turn down the Dry/Wet amount to 90. Set the Stereo Imager X-Over Freq to 1.45 kHz and turn to mono all the frequencies below this threshold. Lastly, set the Hi Band to maximum wide.

Even though these parameters have extreme values, the result can be finely adjusted from the line mixer. For now, I turned down the second channel volume to 67, but you can set this value as you wish, depending on the context.

It should sound like this:

5. Sub Bass

We’re almost there. Since we’re back to the Line Mixer 6:2, create another instance of Thor right under it. Make sure Thor2 audio outputs are routed to the third channel of the mixer. Flip the rack, and route the CV1 Output of the first Thor into the CV1 Input of the second (sub bass) Thor, as in the image below:

CV1 is now the equivalent of LFO1, and we’ll use it to modulate the amplitude of the sub bass sine wave.

Inside the second Thor make the Osc1 an Analog Osc with a sine waveform and set its octave to 4. Also, make sure to turn all the way up the Decay and the Sustain in the Amp section.

In the matrix section, make the following routing:

6. Automations

In general, the use of this type of sound is quie basic, and the only automation that is going on is the wobble rate changing over time. In Reason terms, it is a very simple connection between Rotary1 and LFO1 Rate. To do that, open the Combinator’s Programmer section and select Thor1 from the devices list. In Modulation Routing section, in the right side, just select the target, like in the image below:

Rename the Rotary1 label to something relevant, like «Speed» or «Rate».

7. MIDI Notes

To recreate Skrillex’s bass line set the project tempo to 140 BPM and turn Rotary1 up to 106. As for the notes, they are as follows:

Next, use a quantization of eighth and draw the notes like this:

Conclusion

I hope you’ve found this tutorial helpful. If you have any questions or suggestions, please put them in the comment section below.

Delay Lama Site

Popular:

Delay Lama

About

Delay Lama, also known as Singing Monk Plugin, is a software synthesizer combining vocal synthesis and a 3D animated interface of a singing Tibetan Monk. First released in 2002 by AudioNerdz, the plugin gained popularity in 2007 through parody remixes on Niconico and YouTube. In 2021, the synthesizer once again saw a resurgence in memes online.

History

On May 23rd, 2002, AudioNerdz, a student collective from the Netherlands, released Delay Lama Virtual Studio Technology (VST) which they originally developed as a special project during their audio design course. [1] [2] The program was released as freeware, with AudioNerdz encouraging users to make a donation to the International Campaign for Tibet. [3]

On April 23rd, 2004, AudioNerdz released a Mac OS X version of the software. [1]

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Features

Delay Lama is a freeware VST-instrument available for PC and Macintosh, and was the first such instrument to offer both vocal synthesis and real-time animated 3D interface. The name of the VST is a portmanteau of «Dalai Lama» and «delay» (as in «delay effect»).

The plug-in is a vocal synthesis engine that converts sound to a singing Tibetian monk, with the singing monk 3D visualization adjusting its animation accordingly.

Highlights

2007 Niconico Trend

On May 4th, 2007, YouTube [12] user massimodiggio posted a Delay Lama remix of Gloria Gaynor’s «Survive.» The video, the earliest found example of a Delay Lama remix uploaded to social media, received over and 235,000 views in 14 years (shown below).

On May 22nd, 2007, Niconico [4] user ぴぃ[Personata] uploaded a video titled «僧侶のアクエリオン» (jap. «Monks of Aquarion») to the platform. In the video, three instances of Delay Lama are used to recreate the opening theme of the Japanese anime series Genesis of Aquarion. The video received over 1.2 million views in 14 years. On the same day, YouTube user coucou1758 reuploaded the video, with the reupload (shown below) gaining nearly 400,000 views in the same period.

On May 23rd and 24th, ぴぃ[Personata] uploaded [5] [6] two more remixes created using Delay Lama, which gained over 90,000 and 172,000 views, respectively. The videos sparked a trend on Niconico, with users uploading videos in which they recreated anime openings and other compositions using Delay Lama, usually with several instances of the plug-in used. For example, on May 29th, 2007, Nino Nico Douga [7] user ときわかねなり posted a Delay Lama remix of the opening theme of the Air anime series that gained over 125,000 views. On June 5th, 2007, ときわかねなりposted [8] a remix of the Higurashi When They Cry opening theme that gained over 293,000 views in 14 years (reupload shown below).

Between 2007 and 2015, a total of 360 remixes tagged «monk series» (僧侶シリーズ) were posted on Niconico. [9]

Between 2007 and 2009, Dwango, a parent company of Niconico, sold several Delay Lama covers as ringtones. [10]

Following popularity on Niconico, Delay Lama remixes spread to YouTube, with multiple viral versions posted in the late 2000s and early 2010s (example shown below, left). On May 26th, 2011, YouTube [11] user MagicalMelan posted a remix titled «How Skrillex makes his basslines» which gained over 800,000 views in 10 years (shown below, right).

Between 2012 and 2020, the software saw limited use in memes online. For example, on August 23rd, 2018, YouTube [13] user CurtisTRY posted a remix of Megalovania, which received over 111,000 views (shown below, left). On October 18th, 2019, YouTube [14] user DrewDoesThings posted a video in which he analyzed Timmy Trumpet’s 2014 song «Freaks,» concluding that it used the Delay Lama plugin. The video received over 217,000 views (shown below, right).

2021 Resurgence

Approximately on March 6, 2021, [15] YouTube recommendation algorithm started suggesting the 2011 remix «How Skrillex makes his basslines» [11] (shown below) to users, with the video rapidly gaining popularity and rising to over 800,000 views as of March 30th, 2021.

Later in March 2021, several other Delay Lama remixes on YouTube also got picked up by the algorithm, leading to their increased exposure.

In March 2021, multiple new remixes using the software were posted online, primarily on YouTube. For example, on March 9th, 2021, YouTube [16] user Joel Samaniego posted a preview for Friday Night Funkin’ Delay Lama mod that gained over 58,000 views in three weeks (shown below, left). On March 11th, 2021, YouTube [17] user Umbresp posted a remix of «Brain Power» that gained over 13,500 views in the same period (shown below, right).

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