If you're trying to make modern Jump Up Drum & Bass in the style of Pirapus or KRITIKAL, one of the most important things to understand is that the drop isn't usually carried by one complicated bass sound.
The energy comes from how several completely different basses interact with each other.
A short aggressive bass stab hits first. A choppy rhythmic bass answers it. Another stab resets the groove. Then a large sustained bass fills the remaining space.
That contrast between short, rhythmic and sustained bass sounds is one of the core principles behind this style of modern Jump Up DnB.
In this breakdown, we're going to take apart the entire drop and look at the bass arrangement, individual Serum 2 patches, processing, sub bass, drums and the production decisions that make everything work together.
How This Style of Jump Up DnB Works
Before getting into Serum 2 or any processing, it's important to understand the arrangement.
The basic bass structure of the drop looks something like this:
Aggressive bass stab → aggressive bass stab → rhythmic bass → bass stab → sustained bass
Instead of asking one patch to do everything, every sound has a specific role.
- The bass stab creates impact.
- The rhythmic bass creates movement.
- The sustained bass creates size and fills the remaining space.
This is what gives the drop that constantly changing call-and-response feeling while still keeping the overall idea simple enough to follow.
And this structure is arguably more important than any individual Serum patch.
You could create technically impressive basses, but if they all have the same envelope, frequency content and rhythm, the drop can still feel flat.
The contrast between them is what makes the groove work.
Creating the Aggressive Jump Up Bass Stab
Let's start with the first bass stab.
This is a very short and aggressive sound that gives the beginning of the phrase its initial impact.
The patch consists of:
- Two main oscillators
- One sub oscillator
- Phase distortion modulation
- Short LFO-controlled amplitude
- A modulated filter
- Heavy post-processing
The first oscillator uses a spectral wavetable.
Oscillator B is also loaded with a spectral wavetable, but there is one important difference: its level is set to zero.
That means Oscillator B isn't being directly heard. Instead, it is being used as a modulation source for Oscillator A.
The patch uses PD from B at around 50%, introducing the gritty upper texture that gives the stab its character.
Without this modulation and the sub oscillator, the sound is relatively small. Once both are introduced, the sound becomes much more aggressive.
Shaping the Bass Stab With an LFO
The short character of the stab comes largely from its LFO shape.
Instead of letting the oscillator sustain, a fast downward envelope controls its level. This turns the oscillator into a short, punchy hit.
A similar but slightly smoother LFO is then used on the filter.
The smoother shape makes the filter movement less harsh while still following the general amplitude of the bass.
This combination is important. You aren't simply turning the sound up and down — you're also changing its frequency content throughout the stab.
That creates additional movement inside a sound that only lasts for a very short amount of time.
Filtering the Bass Stab
The main filter uses a Band Pass Notch 12 shape.
Its cutoff and frequency movement are modulated with the smoother LFO mentioned above. The result is a bass that morphs slightly as it plays instead of behaving like a completely static hit.
There is also a separate LFO controlling the sub level.
Its envelope is intentionally different from the main oscillator envelope because we want the sub to remain noticeable for slightly longer, even after the upper portion of the bass begins disappearing.
This helps the stab retain weight without extending all of its aggressive mid and high-frequency content.
Processing the Jump Up Bass Stab
The raw oscillator patch already contains the basic texture, but the processing is what really pushes it forward.
Without the effect chain, the sound is considerably smaller.
This is an important takeaway for modern DnB bass sound design: the synthesizer creates the character, but processing creates much of the final impact.
The chain starts with EQ before moving into a frequency splitter.
On the low-frequency section, filtering is used to keep the low end controlled.
The high-frequency section is then processed using tube distortion with approximately:
- 75% drive
- 60% wet signal
That gives the upper part of the bass considerably more aggression.
From there, multiband compression with roughly 9 dB of gain brings more detail forward.
Several EQ stages are then used to gradually shape the tone — especially the mids and highs — rather than trying to achieve the entire tonal balance with one dramatic EQ move.
Utility processing keeps the low frequencies mono.
Convolution then introduces additional texture and depth.
Another tube distortion stage uses roughly 71% drive and 21% mix, followed by more multiband compression and EQ.
Additional utility stages keep the important low-frequency information centered, while further distortion and convolution push the sound toward its finished character.
There are a lot of effects, but they all serve the same general purpose: taking a relatively small raw sound and pushing it forward until it feels aggressive, detailed and present.
Distorting the Sub Bass Separately
The sub oscillator from the first stab is routed to a separate bus.
This makes it possible to process the sub independently from the main bass.
On this bus, X-Shaper distortion is used together with pre-EQ so that the distortion focuses specifically on the low frequencies.
That gives the sub more harmonic content without requiring the entire bass to go through the same processing.
A final EQ brings some of those generated harmonics forward.
The result still feels like a sub bass, but it becomes easier to hear and has more character than a completely clean sine wave.
Adding a High-Mid Bass Texture Layer
The second bass layer is much more subtle.
On its own, it sounds like a relatively small high-mid texture.
This is intentional.
Not every layer needs to sound impressive when soloed.
Its purpose is to add another dimension to the main bass.
Again, a spectral wavetable forms the basis of the sound, together with modulation and a sub layer. The effects do a significant amount of the work.
Processing the Texture Layer
The first important stage is a modulated low-pass filter.
An LFO continuously changes the cutoff, shaping the overall tone of the bass. Without this stage, the sound becomes much harsher and less controlled.
After the filter comes diode distortion followed by multiband compression.
An EQ with a broad smiley-face curve pushes the lows and highs while creating less emphasis through the center.
Utility processing keeps the low end mono.
A frequency splitter then allows convolution to affect primarily the high frequencies, adding more depth and texture without destroying the low end.
From there, additional EQ increases presence.
Another EQ behaves almost like an automated filter, with its frequency controlled by an LFO so that the sound opens and closes rhythmically.
Chorus introduces width.
OTT-style compression brings the layers together, while utility adds additional stereo width to the appropriate frequencies.
Another EQ removes an unpleasant resonance, followed by more compression and a final EQ creating space for the dedicated sub bass.
The important lesson here is that this layer isn't designed to dominate the drop.
It's designed to support the main stab with texture, width and high-mid information.
Creating the Rhythmic A-Part Jump Up Bass
After the two initial bass stabs, the drop moves into the A-part bass.
This is a much nastier, more rhythmic sound.
One of the most noticeable characteristics is its pitch movement.
A pitch automation makes the bass feel as though it winds upward into the phrase. Instead of simply hitting a static note, the movement adds momentum and helps transition away from the first two stabs.
The MIDI arrangement is equally important.
The drop begins with the two initial stab hits before this bass takes over the next part of the groove.
This is another example of why arrangement and sound design should be treated as one system.
The sound has been designed specifically for the position it occupies inside the rhythm.
Building the A-Part Bass in Serum 2
The core uses a rendered wavetable.
The original source was based on something similar to Serum's I Can Has Kick wavetable before being processed and rendered into the final table.
Another oscillator is used as a modulation source rather than simply being layered at full volume.
A wobble-style wavetable adds extra depth through the low-mid and mid frequencies.
The patch also includes:
- A separately routed sub
- White noise
- A main rhythmic LFO
- Custom filtering
The main LFO is where much of the groove comes from.
The beginning of the LFO remains silent before quickly fading into the main modulation shape. That creates the choppy rhythmic movement of the bass.
The fast rate turns what could have been a sustained sound into something much more animated.
Using Custom Filters to Remove Mud
The A-part bass uses a customizable filter shape with multiple notches.
Instead of using a traditional low-pass or high-pass curve, the filter can behave almost like an EQ.
Two notches are created through the midrange while some of the higher frequencies are also reduced.
The midrange cuts help remove muddiness.
The high-frequency reduction stops the sound from becoming unnecessarily harsh before it reaches the distortion and compression stages.
Processing the A-Part Bass
Again, the raw sound is much softer than the final result.
The effect chain starts with multiband compression.
Overdrive distortion with multiple stacks then creates much of the gritty upper texture.
This is followed by another smiley-style EQ curve.
Utility keeps the lower frequencies mono, while more EQ introduces additional harmonic emphasis before another stage of OTT-style compression pushes everything together.
Further utility and EQ stages keep the bass controlled.
Another multiband compression stage adds even more density.
Finally, chorus widens frequencies above roughly 500 Hz while leaving the important lower information more focused.
By separating the stereo treatment by frequency, the sound can feel wide without sacrificing low-end stability.
Creating the Sustained B-Part Bass
The final major bass in the phrase is the B-part sustain.
Compared with the stab and rhythmic A-part bass, this sound is:
- Fuller
- Longer
- More harmonic
- More sustained
- Less dependent on a short rhythmic envelope
Its job is to create contrast.
After several short and choppy sounds, the sustained bass suddenly occupies much more space.
This difference in envelope is a major reason why it feels so large when it arrives.
Oscillator Setup for the Sustained Bass
All three main oscillators are used together with a dedicated sub oscillator.
Oscillator A uses the I Can Has Kick wavetable from Serum's Digital section.
Warping is applied to change its harmonic balance.
The unprocessed wavetable becomes quite harsh after heavy distortion, so the warp helps shift more focus toward the midrange rather than allowing the top end to dominate.
Oscillator B introduces a square wave.
Even a simple waveform like this can dramatically change a complex wavetable once the harmonics interact.
A triangle wave is then added with the third oscillator.
Individually, these basic shapes don't sound particularly complicated. Together, they fill gaps in the harmonic spectrum and make the resulting bass considerably richer.
Using a Notch Filter to Control Resonance
A Notch 12 filter creates a dip at approximately 800 Hz.
There is an unpleasant resonance around this area, so the notch removes some of that buildup before additional processing.
This is a useful reminder that sound design isn't always about adding more.
Sometimes removing one narrow area makes the rest of the sound feel significantly bigger.
Using the Diffuser to Create Movement
A second filter does much more dramatic work.
Without its diffuser processing, the bass becomes noticeably more static.
Once enabled, the sound immediately becomes more dynamic and animated.
The diffuser is set around:
- 1,500 Hz
- 47 resonance
- 61 stages
The result is a moving texture inside a sound that would otherwise simply sustain.
This allows the bass to remain interesting without relying on the same choppy amplitude modulation used on the previous sound.
Processing the Sustained Bass
The processing chain intentionally shares several characteristics with the A-part bass.
It starts with multiband compression.
Overdrive follows, although with fewer stacks than the previous bass. This still creates significant distortion, but the texture is slightly different.
EQ then adds more low-frequency harmonic content.
This isn't simply about boosting the fundamental sub frequency. The goal is to make the lower area of the sound harmonically richer.
Utility keeps the low end mono.
Further EQ shapes the upper frequencies before another multiband compression stage controls and densifies the signal.
Another broad smiley-style EQ curve creates stronger lows and highs with relatively less emphasis through the middle.
Finally, space is created for the dedicated sub bass.
Why Similar Processing Makes Different Basses Work Together
One interesting detail is how similar some of the processing chains are between the A-part and B-part basses.
That's intentional.
Even though the source sounds and envelopes are different, similar processing helps give them a cohesive sonic character.
This is extremely useful when creating bass-heavy music.
You don't necessarily want every sound to feel as though it came from a completely different track.
You want enough contrast to keep the arrangement exciting, but enough shared processing and tonal balance for the entire drop to feel connected.
That balance is exactly what we're trying to achieve here.
Adding a Clean Sub Bass
Under the sustained bass sits another dedicated sub layer.
This one is extremely simple.
It's essentially a sine wave pitched down by two octaves with almost no additional processing.
That's it.
After complicated wavetable patches, modulation, distortion, convolution, compression and filtering, the low end can still come down to a basic sine wave.
Sometimes simple works best.
How to Make Jump Up DnB Drums Hit Hard
The basses are only one side of this style.
The drums also need to carry a lot of energy.
When played on their own, the drum section is already extremely busy and powerful. This is characteristic of this style of modern Jump Up.
You don't want the drums to disappear behind the bass design.
They need to compete with it.
Choosing the Kick
The kick is large, beefy and relatively heavy.
At the same time, it's short.
This combination is important.
A long kick could occupy too much space and interfere with the bass. Instead, the kick creates a large initial impact before quickly getting out of the way.
Think: big transient and body, short duration.
Building a Powerful Jump Up Snare
The snare combines two important characteristics: tone and noise.
There is a strong tonal component that gives the snare body.
But there is also a large amount of noise.
That noisy upper layer is a huge part of what makes the snare feel so immediate and aggressive.
Without enough high-frequency information, a snare can struggle to feel powerful next to heavily distorted Jump Up basses.
The noise helps push it forward.
Why Busy Cymbals Are So Important
One of the easiest parts of the drop to underestimate is the cymbal loop.
The pattern includes multiple types of high-frequency percussion:
- Hi-hats
- Tambourines
- Rides
- Crash cymbals
There is a lot happening.
But the goal isn't to randomly fill every gap.
The individual elements are rhythmically arranged so that they work together as one pattern.
When the complete cymbal section is removed from the drop, the production suddenly feels much emptier.
Something seems to disappear from the mix even though the main kick, snare and basses are still there.
What's missing is high-frequency space and movement.
The cymbals occupy that area.
This is why creating convincing modern Jump Up drums isn't simply a case of finding a good kick and snare.
The surrounding percussion is what keeps the groove moving between those major hits.
6 Key Lessons From This Jump Up DnB Breakdown
1. Build the Drop Around Contrast
Combine short stabs, rhythmic basses and sustained sounds instead of trying to make one bass perform every role.
2. Design Sounds for Their Position in the Arrangement
The rhythm and envelope of every bass should make sense in the exact part of the drop where it appears.
3. Let Processing Do Some of the Heavy Lifting
A raw oscillator doesn't always need to sound enormous.
Distortion, multiband compression, EQ, filtering and convolution can transform relatively simple source material.
4. Keep Control of the Sub
Routing the sub separately makes it much easier to distort, EQ and control without destroying the rest of the bass.
5. Give Different Basses a Shared Sonic Character
Using related processing techniques can make dramatically different patches feel like they belong inside the same track.
6. Don't Neglect the High End of the Drums
Busy but intentional hats, rides, tambourines and crashes fill the space between the main drum hits and make the entire drop feel more energetic.
Final Result
The finished drop works because every element has a clear job.
The bass stab creates impact.
The second layer adds texture.
The A-part bass creates rhythmic movement.
The sustained B-part fills the space with a large harmonic sound.
The sub keeps everything grounded.
And the busy drums provide enough energy in the upper frequencies to compete with the basses.
Rather than thinking of modern Jump Up DnB sound design as creating one ridiculously complicated bass patch, think about building a collection of complementary sounds that interact with each other.
That's where much of the character of this style comes from.
If you want to see every sound, Serum 2 patch and processing chain in action, watch the complete project breakdown below.
Watch the full Jump Up DnB breakdown on YouTube →
Want the Sounds Used in This Breakdown?
If you want to create this type of music but don't want to build every sound completely from scratch, several of the bass sounds used throughout this project are included in Production Box 2 .
Production Box 2 is our bass music production toolkit built for modern DnB, Dubstep, UKG and other bass-heavy genres.
You can use the sounds as starting points, study how they were designed and turn them into something completely different inside your own tracks.
