How to Process Vocals for Drum and Bass

Vocals can transform a drum and bass track from a pure dancefloor weapon into something with emotional depth, memorability and crossover appeal. Labels like Hospital Records and Liquicity have built entire brands around vocal-led DNB, with artists like Netsky, London Elektricity and Fred V crafting tracks where the vocal is just as important as the bass and drums.

But processing vocals for drum and bass is not the same as processing vocals for pop, hip hop or any other genre. At 174 BPM with heavy bass, complex drum patterns and dense mid-range content, vocals need specific treatment to sit right in a DNB mix. This guide covers the entire workflow, from finding and preparing vocal material through to processing, mixing and using vocal one-shots creatively.

Finding Vocal Samples and Recordings

Before you can process anything, you need vocal material to work with. There are several routes depending on your budget and the style of track you are making.

Recording Your Own Vocals

If you can sing, rap, or even just speak with character, recording your own vocals gives you completely original material. You do not need an expensive studio. A decent condenser microphone (like the Audio-Technica AT2020 or Rode NT1-A), a pop filter, and a treated room (hang blankets on the walls if you have to) will get you usable results.

Record dry. No effects, no processing, just the cleanest signal you can get. You can always add reverb and effects later, but you cannot remove them from a processed recording.

Vocal Sample Packs

Sample packs containing vocal phrases, ad-libs and one-shots are a practical option when you do not have access to a singer. Look for packs specifically labelled for electronic music or bass music. Splice, Loopmasters and similar platforms have large vocal libraries. Make sure you check the licence terms, especially if you plan to release the track commercially.

Acapellas

Using acapellas from existing tracks is a long-standing tradition in DNB. Many official acapellas are available on platforms like Bandcamp or through DJ record pools. There are also AI-based stem separation tools like LALAL.AI and the free Demucs model that can extract vocals from mixed tracks. The quality varies, but modern AI separation has improved dramatically.

Be aware of copyright when using unofficial acapellas. For bootlegs and DJ edits you play out in sets, it is generally accepted. For commercial releases, you need to clear the sample or use royalty-free material.

Pitching and Time-Stretching to 174 BPM

Most vocal recordings are not recorded at 174 BPM. Pop vocals are typically 100-130 BPM. R&B and hip hop vocals sit around 80-100 BPM. Getting these to work at DNB tempo requires careful time-stretching and sometimes pitch adjustment.

Time-Stretching Methods

• DAW built-in stretching: Most DAWs (Ableton, FL Studio, Logic) have decent time-stretching algorithms. Ableton’s Complex Pro mode and FL Studio’s stretch mode handle vocals well. Drag the audio to match your project tempo and let the algorithm do the work.
• Elastique algorithm: If your DAW supports it, Elastique is one of the best time-stretching algorithms for vocals. It preserves the natural character of the voice even at extreme stretch ratios.
• Manual slicing: For more control, slice the vocal into individual words or syllables and position them manually on the timeline. This avoids artefacts entirely because you are not actually stretching anything.

Pitch Considerations

When you time-stretch a vocal from 130 BPM to 174 BPM without pitch correction, the vocal will sound the same pitch but the timing will be adjusted. This is usually what you want. However, sometimes pitching a vocal up 2-3 semitones adds energy and brightness that suits DNB. Pitching down 2-3 semitones creates a darker, moodier character.

Do not pitch vocals more than about 5 semitones in either direction unless you are going for an obviously processed, effect-style vocal. Beyond that range, the voice starts sounding unnatural and the artefacts become distracting rather than musical.

Dealing with Artefacts

Time-stretching always introduces some artefacts, especially at extreme ratios. Common issues include:

• Phasey, metallic tone: Try a different stretching algorithm or mode. Each algorithm handles different material differently.
• Rhythmic stuttering: The algorithm is struggling with transients. Try pre-processing the vocal with a de-esser to soften harsh transients before stretching.
• Loss of clarity: Sometimes less stretching and more manual editing produces cleaner results. Slice the vocal at phrase boundaries and adjust each phrase individually.

Vocal Chops and Rearranging

Vocal chopping is an art form in DNB. Rather than using a full vocal phrase as-is, chopping involves slicing the vocal into individual words, syllables or even smaller fragments and rearranging them into new patterns and melodies.

Basic Chopping Workflow

1. Import your vocal into your DAW.
2. Slice at zero crossings. Cut the audio at points where the waveform crosses zero to avoid clicks and pops.
3. Separate syllables. Cut the vocal into individual syllables or phonemes. “I want to feel alive” becomes “I” / “want” / “to” / “feel” / “a” / “live”.
4. Rearrange musically. Place the chops on the timeline in new patterns. Try repeating certain syllables, reversing others, and creating rhythmic patterns from the pieces.
5. Pitch individual chops. Transpose chops to different pitches to create melodic patterns from spoken or sung material.

Advanced Chopping Techniques

• Glitch chops: Slice vocals into extremely short fragments (32nd notes or shorter) and rapid-fire sequence them. This creates the stuttering, glitchy vocal effects heard in artists like Camo and Krooked, Mefjus and Noisia.
• Reversed chops: Reverse individual syllables or words. A reversed vocal chop placed just before the original creates a “sucking in” effect that builds tension.
• Granular processing: Feed vocal chops into a granular processor to create shimmering, textural vocal atmospheres. Great for breakdowns and intros.
• Sampler instruments: Load a single vocal chop into a sampler (Simpler in Ableton, DirectWave in FL Studio) and play it chromatically across the keyboard. This turns one vocal hit into a melodic instrument.

Effects Processing for DNB Vocals

Raw vocals almost never work in a DNB context without processing. The effects chain you use determines whether the vocal sits on top of the mix, blends into it, or becomes an atmospheric texture.

Reverb

Reverb is essential for giving vocals space and depth, but in DNB you need to be careful. Too much reverb and the vocal becomes a washy mess that conflicts with the bass. Too little and it sounds dry and disconnected from the track.

• Use a send/return channel. Do not put reverb directly on the vocal channel. Send the vocal to a reverb bus so you can control the wet signal independently.
• Short to medium decay times. 1.0 to 2.5 seconds works well for most DNB vocals. Longer decays can work for breakdowns but will cause problems in drops.
• High-pass the reverb return. Cut everything below 200-300 Hz from the reverb signal. This prevents the reverb from muddying up the low end where your bass lives.
• Plate and hall reverbs tend to work best for DNB vocals. Plate reverbs add brightness and presence. Hall reverbs add depth and space.
• Sidechain the reverb to the vocal itself. When the vocal is playing, duck the reverb slightly. When the vocal stops, the reverb tail blooms. This keeps the vocal clear and present while still having lush reverb tails.

Delay

Delay creates rhythmic repetitions that can make a vocal feel like part of the groove rather than sitting on top of it.

• Sync to BPM. Use tempo-synced delays. 1/8 note and dotted 1/8 note delays work particularly well at 174 BPM, creating a bouncing rhythm that locks with the drums.
• Ping-pong delay alternates between left and right channels, creating width and movement. Great for vocal chops in the stereo field.
• Filter the delay repeats. Apply a low-pass filter to the delay so each repeat gets darker and more muffled. This prevents the delay from competing with the original vocal for clarity.
• Keep feedback moderate. 2-4 repeats is usually enough for DNB. Long feedback tails create clutter. You want the delay to add rhythm, not fill every gap.

Distortion and Saturation

Adding controlled distortion to vocals gives them edge and helps them cut through a heavy mix without relying solely on volume.

• Tape saturation adds warmth and subtle compression. Plugins like Soundtoys Decapitator, FabFilter Saturn or free options like Airwindows ToTape work well. This is the most natural-sounding option.
• Parallel distortion. Blend a heavily distorted copy of the vocal with the clean original. This adds aggression while maintaining clarity. Start with the distorted signal very low and bring it up until you can feel it adding edge without overpowering the clean vocal.
• Band-specific distortion. Use a multiband distortion plugin to distort only the mid-range of the vocal (1-4 kHz). This adds presence and grit where the vocal needs to cut through without distorting the low-end body or high-end air.

Vocoder and Talkbox Effects

Vocoders use a vocal signal to modulate a synthesiser, creating robotic, harmonic vocal effects. This technique is used extensively in liquid DNB and more musical bass music styles.

• Basic vocoder setup: Route your vocal as the modulator (analysis signal) and a synth pad or chord as the carrier (what the vocoder uses for pitch). The result is the synth harmonies shaped by the vocal’s formant characteristics.
• Number of bands matters. More bands (24-32) creates a more intelligible, clearer vocoded sound. Fewer bands (8-12) creates a more robotic, processed effect.
• Ableton’s Vocoder is decent for basic work. For more control, TAL-Vocoder is free and sounds excellent. iZotope VocalSynth 2 is the premium option with multiple vocal processing engines.

Vocal Layering Techniques

A single vocal take rarely sounds big enough for DNB. Layering multiple vocal parts creates thickness, width and depth.

Double Tracking

Record the same vocal part twice (or duplicate and slightly detune the recording). Pan one take slightly left and the other slightly right. The subtle timing and pitch differences between the two takes create a natural width and fullness. If you only have one take, duplicate it, detune the copy by 5-10 cents and offset it by 10-20 milliseconds.

Harmony Layers

Add vocal harmonies at thirds or fifths above the main vocal. You can record these live or use pitch-shifting tools to generate harmonies from the lead vocal. Blend them lower than the main vocal so they add richness without competing. Producers like Netsky and Fred V use vocal harmonies extensively to create lush, emotional vocal textures.

Octave Layers

Duplicate the vocal and pitch it up or down an octave. Blend it in very quietly underneath the main vocal. An octave-up layer adds air and brightness. An octave-down layer adds weight and authority. Both should be subtle enough that they are felt rather than heard as separate voices.

Textural Layers

Process a copy of the vocal with extreme effects (heavy reverb, granular processing, bit-crushing) and blend it in at a low level behind the main vocal. This adds atmosphere and depth without affecting the clarity of the lead vocal line.

Mixing Vocals in a DNB Context

Mixing vocals into a drum and bass track presents unique challenges because of the genre’s dense frequency spectrum.

EQ Strategy

• High-pass at 80-120 Hz. Remove low-frequency rumble and proximity effect from the vocal. This area belongs to your sub bass.
• Cut 200-400 Hz if needed. This range can make vocals sound boxy and muddy, especially in a mix with mid-range bass content.
• Boost 2-5 kHz for presence. This is the range where vocals cut through a mix. A gentle 2-3 dB boost here helps the vocal sit on top of the bass and drums.
• Add air above 10 kHz. A shelf boost above 10 kHz adds sparkle and openness. Be subtle, 1-2 dB is usually enough.

Compression

Vocals have a wide dynamic range that needs taming for DNB. The quiet syllables need to be heard over heavy drums, and the loud syllables cannot overpower the mix.

• Use moderate compression. A ratio of 3:1 to 4:1 with a medium attack (10-30ms) and medium release (50-100ms) tames dynamics without squashing the life out of the vocal.
• Serial compression. Two compressors in series, each doing 3-4 dB of gain reduction, sounds more natural than one compressor doing 8 dB. The first compressor catches peaks, the second smooths the overall level.
• Sidechain ducking. Lightly sidechain the vocal to the kick and snare so the vocal ducks by 1-2 dB on each drum hit. This prevents the vocal from masking the drums and creates a natural groove.

Stereo Placement

Keep the main vocal centred. Always. The lead vocal, kick drum and bass should all live in the centre of the stereo field. Backing vocals, vocal harmonies and vocal effects can be panned wider, but the primary vocal stays dead centre.

Automation

Do not set the vocal fader once and forget it. Vocal levels need constant automation in DNB because the backing track’s energy changes dramatically between sections. The vocal level that works in a breakdown will not work in a drop. Automate the vocal level so it sits correctly in every section of the track.

Using Vocal One-Shots

Vocal one-shots are short, single vocal hits, shouts, ad-libs or effects. They are incredibly useful in DNB for adding energy and human character without committing to a full vocal arrangement.

Common Uses

• Drop markers: A short vocal shout or yell right before or on the first beat of a drop. This signals the drop to the listener and adds impact.
• Fill elements: Vocal chops and shouts used as fills every 8 or 16 bars to break up repetition in drops.
• Build-up elements: Pitched-up vocal phrases or reversed vocal swells during builds to create tension.
• Groove elements: Short, rhythmic vocal chops that become part of the drum pattern, adding a human groove element to programmed beats.

Processing Vocal One-Shots

One-shots can be processed more aggressively than full vocal phrases because they are short and the artefacts are less noticeable. Pitch them, distort them, reverse them, run them through vocoders. Experiment. A single vocal hit processed five different ways gives you five different production tools.

How Labels Use Vocals in DNB

Looking at how successful labels approach vocals can inform your own productions.

Hospital Records has built a roster around vocal-led DNB. Tracks from London Elektricity, Netsky and Fred V feature full vocal performances mixed prominently, often with lush production and careful arrangement that gives the vocal room to breathe. The vocals are typically emotional, melodic and mixed cleanly above the instrumental.

Liquicity follows a similar approach, focusing on the more atmospheric, liquid end of vocal DNB. Their releases tend to use softer, more ethereal vocal treatments with generous reverb and delay. The production style prioritises the vocal-emotional connection above raw power.

Ram Records and Viper Recordings take a more dancefloor-focused approach. Vocals are still prominent but are mixed to work in a club context, with tighter reverb, more aggressive processing and arrangements that balance vocal sections with instrumental drops.

Metalheadz and Critical Music use vocals more sparingly, often as chopped, processed elements woven into the production rather than as featured performances. Vocal chops become textural elements rather than lyrical content.

Elevate Your Tracks with the Right Sounds

Vocals are only one part of the equation. To make your vocal-led DNB tracks hit properly, you need bass and drums that match the production quality of your vocal work. Weak bass under a great vocal just draws attention to the gap in your mix.

• Drum and Bass Serum Presets – from liquid basses that complement vocal tracks to neurofunk patches for heavier vocal DNB.
• Bass One-Shot Samples – great for fills and drops around vocal phrases. Layer these under vocal chops for extra impact.
• Sample Packs – complete drum and percussion kits designed for DNB production at 174 BPM.
• UK Bass Serum Presets – for vocal-led garage and bassline crossover tracks.
• Preset Bundles – multiple packs at a discount, giving you a full production toolkit alongside your vocal work.

Related Preset Packs

Looking for professional bass music presets? Check out these Serum preset packs:

• Dirty Drum & Bass Vol.1
• Dirty Drum & Bass Vol.2
• 100x Dirty Bass One Shots
• Dirty Bass Master Bundle Vol. 1 & 2