If you want to learn how to make modern Speed Garage in the style of NOTION, FUZION or IN PARALLEL, you don't necessarily need an extremely complicated project.
A huge part of this sound comes down to getting a few important elements right: a wide +7 semitone reese bass, a memorable vocal hook, punchy four-on-the-floor drums and the characteristic swung groove of UK Garage.
Once those elements work together, you can build a surprisingly strong track around a very simple arrangement.
In this tutorial, we're breaking down the complete Speed Garage project and looking at:
- The signature +7 semitone reese bass
- How to build the bass from basic saw waves
- Sub bass routing
- Reese bass processing
- Writing memorable vocal hooks
- Speed Garage drum programming
- UKG swing and shuffled hi-hats
- Simple Speed Garage arrangement
Prefer watching the complete project breakdown? Watch the full Speed Garage tutorial on YouTube →
What Makes Modern Speed Garage Sound Like This?
One of the most recognizable elements in this style of Speed Garage is the bass.
More specifically, it's the combination of a wide reese bass with an additional oscillator tuned seven semitones above the fundamental.
That interval gives the bass a very particular harmonic character.
Combine it with a catchy vocal and you already have most of the identity of the track.
That's an important point because this style doesn't necessarily depend on extremely technical sound design.
The strength comes from the relationship between a few recognizable elements.
The main ingredients are:
- A wide reese-style bass
- An oscillator tuned +7 semitones
- A clean dedicated sub
- A memorable repeating vocal hook
- Four-on-the-floor kick
- Swung UKG hi-hats
- A short, bright clap
- Simple arrangement built around the hook
How to Make the Signature Speed Garage Reese Bass
Let's start with the main element of the track: the reese bass.
At its core, a traditional reese doesn't need to be complicated.
The basic idea is to combine detuned saw waves so that the slight pitch difference between them creates movement.
For this particular Speed Garage sound, however, we introduce one additional idea that dramatically changes the character: the second oscillator is tuned +7 semitones.
Start With Oscillator A
The first oscillator uses a basic saw wave.
Set it to two unison voices and introduce a relatively strong amount of detuning.
This creates the wide, moving foundation of the reese.
On its own, this is essentially a traditional detuned saw bass.
It already has width and movement, but it doesn't yet have the characteristic harmonic quality we're looking for.
The +7 Semitone Trick
The next oscillator is where the Speed Garage character starts becoming obvious.
Load another saw wave and tune it +7 semitones.
Seven semitones creates a perfect fifth above the root note.
When this is layered with the original reese oscillator, the bass immediately becomes more harmonic and recognizable.
This simple interval does a surprising amount of the work.
Instead of hearing only one heavy bass note, you're introducing another tonal relationship inside the sound itself.
That's one of the main reasons this style of bass feels different from a standard reese.
Use an Octave Difference Between the Oscillators
The octave relationship also matters.
In this patch, Oscillator A is placed around -2 octaves while Oscillator B sits around -1 octave.
This keeps the first oscillator deep while allowing the +7 semitone oscillator to contribute more clearly to the upper harmonics.
If both oscillators are placed too low, the bass can lose some of the character that makes the interval stand out.
You can experiment with larger octave differences, but one octave between the two layers already works extremely well.
Detune the Second Oscillator Too
Oscillator B shouldn't be completely static.
Add several unison voices and a slightly smaller amount of detuning than on Oscillator A.
This preserves the wide reese character while keeping the higher layer relatively controlled.
The two oscillators now create a wide harmonic bass without requiring an enormous number of layers.
Add a Separate Clean Sub
The main oscillators give us the character, but they don't necessarily provide the clean low-frequency foundation we need.
Add a dedicated sub oscillator underneath them.
The important part is the routing.
Instead of sending the sub through the same distortion, chorus, reverb and other processing as the main reese, route it directly to the output.
This lets the upper bass become extremely wide and processed while the deepest frequencies stay clean, centered and consistent.
This approach is especially useful for reese basses because many of the effects that make the mids sound exciting can easily destroy the clarity of the sub.
Add Noise for More Texture
A small noise layer can help fill the upper frequencies.
The purpose isn't to make the bass obviously noisy.
Instead, we're adding a subtle layer of sizzle and texture above the main oscillators.
Once the entire patch goes through distortion and compression, that noise becomes part of the overall character and helps the bass feel more present.
Filter the Lower Reese Layer
The filter in this patch affects primarily Oscillator A.
This is useful because we can slightly darken the deeper reese foundation while keeping more of the higher harmonic information from Oscillator B.
Instead of filtering the entire sound equally, we're creating a contrast between the two oscillator layers.
That gives the bass more depth and stops everything from occupying exactly the same frequency range.
Processing the Speed Garage Reese Bass
The raw oscillator setup gives us the correct harmonic structure, but the effects are what bring the bass forward in the mix.
Without the processing chain, the sound is considerably duller and less exciting.
The goal of the effects isn't to completely redesign the bass.
We're taking the existing character and making it wider, denser, brighter and more present.
1. Dimension Expander
Start by widening the bass using a dimension-style effect.
In this patch, the settings are approximately:
- 38% mix
- 44% size
This begins spreading the upper bass information into the stereo field.
Reese basses naturally benefit from width, so stereo processing is an important part of the final character.
2. Distortion
Next comes distortion.
The drive is pushed to around 60% with the effect fully wet.
Distortion creates more harmonic content and pulls the individual oscillator layers together.
Instead of hearing several separate saw waves, the bass starts behaving more like one cohesive sound.
3. Multiband Compression / OTT
Follow the distortion with multiband compression.
OTT-style processing helps bring quieter details forward and makes the overall bass feel more glued together.
This is particularly useful after distortion because there is now much more harmonic information throughout the frequency spectrum.
4. Add Reverb for Depth
A small amount of reverb creates additional depth.
Remember that our sub is routed separately, so we have much more freedom to process the upper bass without washing out the low end.
The reverb doesn't need to be huge.
Its purpose is to stop the bass from sounding completely flat and dry.
5. Chorus for More Width
Chorus pushes the stereo width even further.
Wide reese basses are one of the defining elements of this style, so combining the natural detuning with dimension processing and chorus creates a much larger stereo image.
Again, the dedicated sub remains untouched underneath everything.
6. Boost the High-End Presence
Use EQ to bring some of the upper harmonics forward.
The +7 semitone layer and noise already create useful high-frequency information.
A controlled EQ boost allows those textures to become more obvious in the final sound.
This can help the bass remain audible even on systems where the deepest sub frequencies aren't reproduced particularly well.
7. Remove the Unnecessary Sub Frequencies
Because we already have a clean dedicated sub, remove the very lowest frequencies from the processed reese layer.
There is no reason to let distorted, widened low-frequency information compete with the clean sine-wave foundation underneath it.
This gives each layer a very clear role:
- Dedicated sub: clean low-frequency weight
- Reese layers: character, width and harmonics
Automate the Bass Filter
The final filter in the chain is used primarily for automation.
During the intro and transitions, the reese can be heavily filtered.
Then gradually open the cutoff as the track moves toward the main section.
This creates tension without requiring a completely different bass patch.
The same core sound can therefore appear throughout the entire track while still changing its energy depending on the arrangement.
Want the project and sounds used in this tutorial?
The Speed Garage project, reese basses, vocals and production sounds used throughout this breakdown come from Production Box 2, our toolkit for modern bass music production.
Writing a Catchy Speed Garage Vocal Hook
The bass gives the track its sonic identity, but the vocal gives people something to remember.
For this style, look for a vocal with a short, recognizable phrase that can be repeated throughout the track.
You don't necessarily need a long verse or complicated topline.
In fact, a simple phrase can often work better because listeners immediately understand what the hook is.
In this project, the entire vocal revolves around one memorable phrase.
That phrase appears repeatedly throughout the production, which makes it increasingly recognizable every time it returns.
Repetition Is Part of the Hook
Producers sometimes become afraid of repeating the same vocal too many times.
But repetition is exactly what can make a simple hook memorable.
If the phrase is strong enough, you don't necessarily need to constantly replace it with new lyrics.
Instead, change the context around it:
- Filter the instrumental
- Remove drums
- Introduce the vocal earlier in the intro
- Change the bass underneath it
- Create small arrangement gaps
The vocal remains recognizable while the surrounding production keeps changing.
What to Look for When Choosing Vocals
If you're searching through vocal samples, prioritize something that is immediately identifiable.
Ask yourself:
- Is there one obvious phrase people will remember?
- Does the melody work after only one or two listens?
- Can the phrase repeat without becoming confusing?
- Does it leave enough space for the bass and drums?
If you're working with a vocalist, you can use the same principles when writing the topline.
The goal isn't necessarily lyrical complexity.
The goal is a hook that gives the production an identity.
How to Make Speed Garage Drums
Once the bass and vocal are working, the next major part of the sound is the drum groove.
The basic ingredients are straightforward:
- Four-on-the-floor kick
- Short clap
- Closed and open hi-hats
- Strong UK Garage swing
Again, the complexity isn't necessarily in the number of drum layers.
The groove comes from where those layers are placed.
Use a Punchy Four-on-the-Floor Kick
The kick follows the classic four-on-the-floor pattern.
What matters most is the sample itself.
Choose something relatively short but extremely punchy.
You want the transient to immediately cut through the reese and vocal without creating an unnecessarily long low-frequency tail.
A shorter kick leaves more space for the dedicated sub and the low end of the bass.
The Secret Is in the UK Garage Hi-Hat Swing
The hi-hats are one of the most important rhythmic elements in this type of Speed Garage.
If you place every hat perfectly on the grid, the groove can become too rigid.
UK Garage relies heavily on swing and shuffled timing.
Instead of placing every transient exactly where a mathematically perfect subdivision would sit, some of the hats are pushed slightly away from the grid.
Even a tiny timing change can completely change the feeling.
Visually, you can actually see a small gap between the normal grid position and the beginning of the shifted hat.
That small displacement creates the loose, bouncing movement associated with Garage.
Alternate Closed and Open Hi-Hats
A simple pattern can alternate between:
Closed hat → open hat → closed hat
Combine that sound selection with the shifted timing and the groove immediately begins feeling much more shuffled.
You don't need twenty percussion layers.
A small number of well-placed sounds can create much more groove than a complicated pattern where everything sits perfectly on the grid.
Choosing the Clap
The clap should be relatively short and focused in the higher frequencies.
In this project, it has some reverb but remains very tight.
Because the sound contains a lot of high-frequency information, it stands out clearly against the darker bass.
That contrast is useful.
The bass occupies a huge amount of low and mid-frequency space, so the clap doesn't need to compete in the same area.
Its brightness gives it a separate position in the mix.
How to Arrange a Modern Speed Garage Track
One of the biggest lessons from this style is that the arrangement doesn't need to be complicated.
Once you have a strong bass and vocal hook, those elements can carry most of the track.
You don't necessarily need to create an entirely separate musical idea for the intro, another one for the buildup and another one for the drop.
Instead, introduce the main identity of the track early.
Introduce the Main Bass in the Intro
The same reese used later in the main section can already appear during the intro.
Simply filter it heavily.
This lets the listener hear the identity of the track immediately without revealing the full energy.
As the arrangement progresses, open the filter and gradually introduce more drums.
Bring in the Hi-Hats Gradually
Once the filtered bass and vocal establish the hook, begin introducing the swung hi-hats.
This adds movement without dramatically changing the musical idea.
You can continue revealing more of the existing drop elements as the track progresses.
Simplicity Wins in Speed Garage
You don't need an enormous cinematic buildup.
You don't need dozens of completely unrelated synth layers.
And you don't necessarily need a separate melody for every section.
If the main reese, vocal and drum groove already work together, adding more elements can actually weaken the hook.
In this style, simplicity often makes the strongest elements feel even stronger.
Let the bass establish the character.
Let the vocal provide the memorable phrase.
Let the drums provide the groove.
Then use filtering, muting and small arrangement changes to create movement around those elements.
Why This Style Works
When we break the project down, none of the individual ideas are impossibly complicated.
The reese starts from saw waves.
The kick follows a four-on-the-floor pattern.
The hi-hats use a simple shuffled groove.
The vocal repeats one recognizable hook.
Yet together, those elements create a very specific identity.
That's because production isn't always about complexity.
It's often about choosing a few compatible ideas and executing them extremely well.
7 Key Lessons for Making Modern Speed Garage
1. Start With a Wide Reese Bass
Detuned saw waves give you the moving stereo foundation needed for this type of bass.
2. Tune the Second Oscillator +7 Semitones
The perfect-fifth interval creates much of the recognizable harmonic character of the bass.
3. Keep the Sub Separate
Route a clean sub directly to the output so the heavy stereo processing on the reese doesn't destroy your low end.
4. Use Processing to Push the Reese Forward
Dimension processing, distortion, multiband compression, chorus, reverb and EQ turn the relatively simple oscillator patch into a much larger finished sound.
5. Build the Track Around a Memorable Vocal
A simple phrase that repeats throughout the production can create more identity than a complicated vocal that nobody remembers.
6. Move the Hi-Hats Off the Grid
The shuffled UK Garage feeling comes largely from timing. Small changes in hi-hat placement can completely transform the groove.
7. Don't Overcomplicate the Arrangement
Introduce the main bass and vocal early, then use filtering and drums to control the energy.
When the core idea is strong, you don't need to constantly replace it with something new.
Speed Garage Production FAQ
How do you make a Speed Garage reese bass?
Start with a detuned saw wave and add a second detuned saw oscillator. For this specific style, tune the second oscillator +7 semitones and place it one octave above the deeper reese layer. Add a separate clean sub underneath before processing the upper bass with distortion, compression and stereo effects.
Why is +7 semitones used in Speed Garage basses?
Seven semitones creates a perfect fifth above the root note. Layering this interval into the reese creates additional harmonic character and gives the bass a different tonality than a traditional unison reese.
Should a Speed Garage bass be stereo?
The upper reese layers can be very wide.
Detuning, chorus and dimension effects are useful for creating that width. The deepest sub frequencies, however, are much easier to control when they're kept separate and centered.
What drum pattern does Speed Garage use?
This style can use a four-on-the-floor kick together with shuffled UK Garage-style hats and a short, bright clap. The swing of the high-frequency percussion is extremely important to the overall groove.
How do you create UK Garage swing?
Avoid placing every percussion hit perfectly on the grid. Shift selected hi-hats slightly away from their normal positions and alternate closed and open hats to create a more shuffled rhythm.
Does Speed Garage need a complicated arrangement?
Not necessarily.
If your reese, vocal and drum groove already create a strong hook, you can use those same elements throughout the track and create movement with filtering, mutes and gradual drum introductions.
What makes a good Speed Garage vocal?
Look for a short, memorable phrase that can be repeated multiple times without losing its impact. The strongest hook should be recognizable quickly and leave enough space for the bass and drums.
Final Result
Modern Speed Garage in the style explored here isn't built around endless layers or unnecessarily complicated sound design.
The identity comes from a few very specific choices.
A wide reese creates the foundation.
The +7 semitone oscillator gives it the recognizable harmonic character.
A clean sub keeps the low end controlled.
The vocal creates the hook.
And the swung drums create the Garage groove.
Once those pieces work together, the rest of the track can remain surprisingly simple.
If you want to see the complete project and hear every sound in context, watch the full video breakdown:
Watch: How to Make Speed Garage Like NOTION, FUZION & IN PARALLEL →
Get the Speed Garage Project and Sounds
The project and production sounds used throughout this tutorial are included in Production Box 2 .
Production Box 2 is built around modern bass music production, with material for Drum & Bass, Dubstep, UK Garage / Speed Garage and related bass-heavy styles.
Instead of only hearing the finished result, you can use the included material as a starting point, pull the ideas apart and turn them into something completely different inside your own tracks.
