Drum and bass

History and character

Drum and bass emerged in the UK in the early '90s as an evolution of jungle, which itself split off from the breakbeat hardcore of the 1990–1992 raves. Its ingredients come from three directions: sampled, sped-up funk breakbeats (above all the Amen break from "Amen, Brother" by The Winstons, 1969), the Jamaican sound system culture with its deep bass, and Detroit techno, in particular the "Reese bass" by Kevin Saunderson ("Just Want Another Chance", 1988). Tempos rose quickly: around 130 BPM in the 1990–91 raves, 155–165 in 1993, then from 1996 the scene settled between 170 and 180. The tools of the trade were Akai samplers and sequencers on the Atari ST; the records played on pirate radio stations like Kool FM and in London clubs (AWOL, Metalheadz Sunday Sessions at the Blue Note).

From the mid-'90s the scene split into currents: the atmosphere and jazz of LTJ Bukem (Good Looking Records), Goldie's album "Timeless" (1995), Roni Size & Reprazent winning the Mercury Prize with "New Forms" (1997), and the dark, sci-fi techstep of Ed Rush, Optical, Bad Company UK and Dom & Roland, from which neurofunk was born. In parallel came jump-up, more playful and bass-driven, and liquid funk, named in 1999 by Fabio with the compilation "Liquid Funk" on Creative Source. Key labels: Metalheadz, Reinforced, V Recordings, Moving Shadow (1990–2007), RAM, Hospital, Shogun Audio, Virus, Critical, Playaz.

In the 2000s DnB became a global language: Pendulum ("Hold Your Colour", 2005) brought it close to arena rock, Andy C and RAM dominated the clubs, and Chase & Status, Sub Focus and Netsky took the "dancefloor" formula into the charts. "Hot Right Now" by DJ Fresh (2012) was the first UK number one drum and bass track, followed by Rudimental ("Feel the Love", 2012) and Sigma (2014). In the 2020s a new generation (Nia Archives, Bou, Kenya Grace with "Strangers", 2023) brought the genre back to the center, between jungle revival and pop DnB. UKF and Liquicity on YouTube have served as a global showcase.

Aesthetically, DnB lives on contrast: a very fast, fragmented drum kit over a bass and harmony that move slowly, "at half time". It is sound system music (physical sub, sharp transients), with an urban, futuristic identity and a strong MC and DJ culture (rewinds, double drops, long mixes over 16–32-bar phrases).

Scales and keys

DnB is overwhelmingly minor. The most common keys in clubs are those that put the sub's root between E1 and A1 (41–55 Hz), because there the sub sounds full on sound systems without getting muddy: E, F, F#, G, A minor. All the examples below are in F so they can be compared.

Natural minor (Aeolian)

• Formula: 1 2 b3 4 5 b6 b7. Whole/half steps: W H W W H W W (2-1-2-2-1-2-2).
• In F: F G Ab Bb C Db Eb.
• Characteristic notes: b3 (Ab) and b6 (Db). The b6 gives the melancholic, "cinematic" color typical of DnB pads.
• Diatonic chords: i Fm, ii° G°, III Ab, iv Bbm, v Cm, VI Db, VII Eb. Seventh chords: Fm7, Gm7b5, Abmaj7, Bbm7, Cm7, Dbmaj7, Eb7.
• Use in the genre: it is the basis of almost all dancefloor progressions and rollers (i–VI–III–VII, i–VI–VII). Basses stay on 1, b6, b7 and 5; leads use the b6 falling to the 5 as a dramatic gesture.
• Listening example: the epic progressions of Pendulum ("Hold Your Colour") and Sub Focus are built on this Aeolian logic.
• Common mistakes: using the minor v (Cm) and expecting a strong cadence (there is no leading tone); putting too many chords per bar at 174 BPM: the harmony turns to mush.

Dorian

• Formula: 1 2 b3 4 5 6 b7. W H W W W H W (2-1-2-2-2-1-2).
• In F: F G Ab Bb C D Eb.
• Characteristic note: the major 6th (D): a "bright" minor, soulful and jazzy.
• Chords (Roman numerals relative to natural minor): i Fm, ii Gm, III Ab, IV Bb, v Cm, #vi° D°, VII Eb. Seventh chords: Fm7, Gm7, Abmaj7, Bb7, Cm7, Dm7b5, Ebmaj7. The signature chord is the major IV (Bb or Bb7) after the minor i.
• Use: liquid, soulful, rollers with Rhodes. Typical progression Fm9–Bb13 (i9–IV13) for 2 bars each. In the bass you hear the 6th as a passing note toward the b7.
• Listening example: the harmonies of Calibre and High Contrast in liquid have this color (minor with major IV).
• Common mistakes: playing the 6th but keeping an Aeolian Db (b6) in the pad: the D–Db clash ruins the color.

Phrygian

• Formula: 1 b2 b3 4 5 b6 b7. H W W W H W W (1-2-2-2-1-2-2).
• In F: F Gb Ab Bb C Db Eb.
• Characteristic note: b2 (Gb), a half step above the root: tension, menace, an "Eastern" color.
• Chords (relative to natural minor): i Fm, bII Gb, III Ab, iv Bbm, v° C°, VI Db, vii Ebm.
• Use: techstep, neurofunk, dark jump-up. Bass riffs that oscillate between F and Gb, bII–i stabs (Gb–Fm), sirens that rise by a half step.
• Listening example: the techstep/neuro tradition (Ed Rush & Optical, Noisia) often uses half-step cells above the root.
• Common mistakes: dwelling on the harmonized bII for too long; in the genre the half step works best as a bass cell or short stab.

Harmonic minor

• Formula: 1 2 b3 4 5 b6 7. W H W W H W½ H (2-1-2-2-1-3-1).
• In F: F G Ab Bb C Db E.
• Characteristic note: the leading tone E and the augmented second Db–E: a true dominant (C or C7) and an epic or "neoclassical" color.
• Chords: i Fm, ii° G°, III+ Ab+, iv Bbm, V C, VI Db, vii° E°. Seventh chords: FmMaj7, Gm7b5, Abmaj7#5, Bbm7, C7, Dbmaj7, E°7.
• Use: end of breakdowns (V–i before the drop), dancefloor leads, orchestral intros. You often stay in Aeolian and take only the major V in the last bar.
• Common mistakes: using the harmonic scale for the whole track: it sounds like a "period film"; better to limit it to cadences.

Minor pentatonic and bass cells

• Formula: 1 b3 4 5 b7. Intervals in semitones: 3-2-2-3-2.
• In F: F Ab Bb C Eb.
• Use: reese and jump-up riffs, vocal chops, simple leads that never go wrong over any Aeolian or Dorian chord.
• Common mistakes: riffs that are too long; in the genre the ideal cell is 2–4 notes, repeated and varied in timbre.

How to choose

• Dancefloor, epic: Aeolian, with the V of harmonic minor at the end of the phrase.
• Warm, soulful, jazzy (liquid): Dorian, seventh and ninth chords, major IV.
• Dark, technological (neuro, techstep): Phrygian and chromaticism; harmony almost absent, timbre is what counts.
• Bass riffs and chops: minor pentatonic.
• Rule of thumb: choose the root with the sub in mind (E–A); then choose the mode based on the color you want in the pad.

Harmony

• Slow harmonic rhythm: at 174 BPM one chord every 2 bars (about every 2.8 seconds) is the norm; in liquid often one chord per bar. Think of the harmony as if the track were at 87.
• 4-chord loops over 8 bars or 2-chord loops over 4 bars; in the drop the harmony often shrinks to a pedal, with the bass moving on 1, b7, b6.
• Pedals: the sub stays on the root while the pads change above (Fm–Db/F–Eb/F): it keeps constant power in the sub, essential in clubs.
• Modal borrowing: Dorian major IV in an Aeolian context, harmonic minor major V at the end of the breakdown, Phrygian bII as a stab.
• Cadences: rare inside the drop; the real cadence (V–i or VI–VII–i) sits between breakdown and drop, where it "launches" the bass.
• Voicing: chords in the mid register (F3–F5), open, rootless (the bass carries the root); sevenths and ninths in liquid, triads or bare fifths in dancefloor and neuro.
• Density: inversely proportional to the aggressiveness of the bass: the more harmonically rich the reese, the fewer notes the pads need.
• Modulations: rare; a section change is used instead of a key change (second drop with a different bass, "switch-up"). In liquid, a whole-step jump in the last chorus does happen.

Typical progressions

Rhythm and groove

• Tempo: 170–176, standard 174. Bass, chords and vocals are felt at half time (87).
• Grid: straight sixteenth notes (swing 0) for programmed drums; sampled breaks carry their own original micro-swing (often 52–56%), which should be respected.
• Two-step: kick on 1 and on the "and" of 3, snare on 2 and 4: this is the basic pattern of modern DnB.
• Accents: the snare is the strongest point (often perceived as louder than the kick); low-velocity ghost notes give the "rolling" feel.
• Half time: breakdowns and intros often have the snare only on 3 (half-time, 87), then the drop "doubles".
• Microtiming: hats and shakers pushed early or late by 5–10 ms against the grid to give drive; the snare should sit on the grid or very slightly late (2–5 ms) to sound heavy.
• Density: 16 sixteenth notes per bar at 174 BPM = one sixteenth note every 86 ms. Every extra hit has to be justified.

Drums

Convention: a bar of 16 sixteenth notes numbered 1–16; quarter notes fall on 1, 5, 9, 13; the "ands" (eighth-note upbeats) on 3, 7, 11, 15.

Role of the kick

• Basic pattern (two-step): sixteenth notes 1 and 11 (the 1 and the "and" of 3). It is short and punchy: body 50–70 Hz and click 3–5 kHz, decay 150–250 ms, so it doesn't cover the sub.
• Variations: a kick added on 8 or 15 to push the loop; double kick 11–12 for rollers; in "stepper" drops kick on 1, 7, 11.
• The kick does NOT act as the bass: leave the space below 50 Hz to the sub.

Role of snare and clap

• Sixteenth notes 5 and 13 (2 and 4). This is the heart of the genre: body 180–250 Hz, crack 1.5–4 kHz, short tail.
• Often layered: sampled acoustic snare + electronic snare + light clap or a break underneath.
• Ghost notes: on 8, 10, 15 or 16 at 25–45% velocity; they give the rolling feel. In liquid often a ghost on 10.
• Tuning: tune the snare body to the root or the fifth (e.g. for F minor, body at ~175 Hz = F3 or ~196 Hz = G3, adjusting by ear).

Hi-hats, ride and percussion

• Closed hats in eighth notes (3, 7, 11, 15 if on the upbeat) or in sixteenth notes with alternating dynamics (loud–soft); the ride on the upbeat gives openness ('90s DnB, liquid).
• Shaker in sixteenth notes at low velocity: it fills the space between the hits.
• Sampled breaks (Amen, Think, Apache, Hot Pants) under the programmed drums, high-passed at 200–400 Hz: they add "dust" and groove without disturbing kick and sub.
• Percussion: tambourines, rims, reversed crashes at the start of phrases.

Dynamics, ghost notes and groove

• Velocity: kick 100–110, snare 110–127, ghosts 30–45, alternating hats 70/50.
• Microtiming: slight early hats (5 ms) give urgency; a late snare (3–8 ms) makes it heavier and more "laid-back" (typical of liquid).
• The groove of DnB comes from the ghosts and the breaks, not from global swing.

Interaction with bass and vocals

• The sub often enters on 1 together with the kick and stops or changes note on 11 (second kick): the bass "answers" the kick.
• The mid-frequency reese moves at half time: one note per half bar or per bar.
• With vocals: in the verses, remove hats or ride to leave room for sibilants; the MC leans on snares 5 and 13.

How it changes by section

• Intro: filtered break or just hats/percussion, 16–32 bars designed for the DJ.
• Build: snare going from quarter notes to eighths to sixteenths, high-pass filter on the drums, riser; the last bar is often empty.
• Drop: full two-step, ghosts, break underneath, crash at the start of every 8.
• Breakdown: half-time or no drums; pads and vocals.
• Second drop / switch: same drums with variations (different kick, different break, pattern change on the 16th bar).

Fills and transitions

• Snare fill in thirty-second notes in the last half bar; re-ordered break chops (the repeated snare "slice"); 1-bar reverse crash; a total stop of one quarter note before the drop (a "silence" at 174 BPM lasts 345 ms).
• Every 8 bars a small change (one extra kick, a hat opening), every 16 a bigger one.

Choosing sounds

• Short, tuned kicks, snares with a clean crack; clean 24-bit samples plus a "vintage" layer (12-bit break, emulated Akai sampler).
• Lengths: kick 150–250 ms, snare 150–300 ms, hat 30–80 ms.

Typical mistakes

• Long kick that clashes with the sub; weak snare in the mids (missing 200 Hz or 2–3 kHz); unfiltered breaks that muddy the bass; all notes at velocity 127 (no rolling); too many fills; not trimming the tails of the breaks (the original reverb gets dirty).

Bass

• Two-layer structure: sub (sine or triangle, 30–90 Hz, mono) + mid bass (reese, growl, FM, distorted, 100 Hz–3 kHz). They are often two separate tracks with the crossover around 100–150 Hz.
• Reese: two or more slightly detuned saws (detune 5–20 cents) beating against each other; a low-pass filter that opens slowly; it derives from "Just Want Another Chance" by Kevin Saunderson (1988), sampled in "Terrorist" by Renegade.
• Register: sub root between E1 (41.2 Hz) and A1 (55 Hz); F1 = 43.65 Hz, G1 = 49.0 Hz.
• Relationship with the kick: the kick has its body at 50–70 Hz and a short decay, the sub starts right after; light sidechain (3–6 dB of reduction, release 60–120 ms) or volume shaping; the sub can also start slightly late (10–20 ms) to leave the transient to the kick.
• Note choice: root most of the time, b7 and b6 as answering notes, 5 for passing tones; chromaticism (a half step above or below) in neuro; 50–150 ms glide between notes in the reese.
• Rhythm: the sub often follows the kick (1 and 11) with long notes; the mid bass plays half-time phrases with rests; in jump-up the bass is the main riff.
• Tuning: everything must be tuned to the sub; check that the kick doesn't have a pitch that conflicts with the root.
• Examples: classic reese in Ed Rush & Optical, Pendulum; liquid sub with long notes in High Contrast; wobble/growl in modern jump-up.

Harmonic instruments

• Pads: synthetic strings and warm pads in the mid register, with 200–800 ms attack and long release: they fill the gaps in the break without fighting the snare transient.
• Piano and Rhodes: liquid and soulful; seventh and ninth voicings in the right hand, left hand left to the bass.
• Stabs: short chords (decay 100–300 ms) in neuro and jump-up, often with short reverb and dotted-eighth delay.
• Orchestral strings: cinematic breakdowns and intros.
• Guitars: liquid and rock DnB (Pendulum); clean arpeggios or distorted power chords.
• Register: keep chords above F3 (~175 Hz) and below C6; the bass carries the root.
• Function: they create the "slow harmony" over the fast rhythm; they should be lightly sidechained to the kick or snare.

Melody and vocals

• Half-time thinking: melodies with long notes or 2-bar phrases that breathe; the fast rhythm is already in the drums.
• Lead: supersaw, plucked lead, FM synths; register 400 Hz–3 kHz; fourth and fifth intervals, b6–5 descent.
• Vocals: soul and gospel in liquid (reverbed female voices), pop toplines in dancefloor, pitched chops, film samples and dialogue in neuro. Typical range alto/mezzo-soprano or tenor.
• MC: part of the live culture: rhythmic verses over the snares, call-and-response with the crowd; in the studio often doubled and heavily compressed.
• Backing vocals and harmonies: harmonies in thirds and sixths in the choruses; tight doubles (2–4 takes) left/right at −6/−8 dB; ad-libs with quarter-note delay.
• Effects: long hall or plate reverb (2–4 s) with tempo-synced pre-delay (1/32 ≈ 43 ms or 1/16 ≈ 86 ms), dotted-quarter and eighth-note delay, delay throws at the end of a phrase.

Instruments

• Sampled drums (classic breaks + one-shots), drum machines (909, 808 for some kicks), samplers (historic Akai S950/S1000/S3000; today FL Studio with Slicex, Fruity Slicer, Edison).
• Bass synths: virtual analog, FM, wavetable (Serum and Vital are standards in modern DnB); in V Collection: Mini V, Korg MS-20 V, DX7 V, Prophet-5 V.
• Pads and strings (Solina V, Jup-8 V, Augmented Strings), piano and Rhodes (Piano V, Stage-73 V), organs (B-3 V).
• Vocals, MC, vocal samples, film dialogue.
• Guitars and electric bass (rock DnB and live), acoustic drums in live bands.
• FX: risers, downlifters, impacts, sirens, reverse cymbals.

Drum patterns

Synths and sounds

• Mini V — Sub and reese: Osc 1 and 2 as saws at 16', detuned ±8–15 cents against each other, osc 3 triangle an octave down for the sub; cutoff at 40%, low emphasis, slow filter contour (attack 0, decay 1–2 s): classic reese. Glide 60–100 ms for slides.
• Korg MS-20 V — Distorted mid bass: Two saw/square VCOs, resonant high-pass + low-pass with drive: growl and "talking" bass for neuro and jump-up. Modulate the cutoff with the EG or an LFO at 1/8 or 1/16.
• DX7 V — FM and metallic basses: Algorithms with high-ratio modulators (e.g. 1:3, 1:7) and feedback: sharp "neuro" basses and metallic stabs; then distortion and low-pass.
• Prophet-5 V — Pads and stabs: Two slightly detuned saw oscillators, 24 dB filter at mid, attack 300 ms, release 1.5 s: warm pads. For stabs: attack 0, decay 300 ms, poly-mod for color.
• Solina V — Atmospheric strings: Ensemble on, slow attack: "Bukem style" intros and breakdowns.
• Stage-73 V — Liquid Rhodes: Slow tremolo, a little drive: ninth and thirteenth chords in liquid and rollers.
• Augmented Voices — Choirs and vocal pads: Vocal textures for breakdowns and cinematic intros.

Song structure

8-bar phrases grouped in blocks of 16 or 32; at 174 BPM 32 bars last about 44 seconds. Typical length 4:30–6:00 in the club version.

• What comes in/out: every 8 bars a new element (hat, percussion, bass layer); every 16 a bigger change (new break, bass variation); at the 32nd an event (stop, fill, drop).
• Radio versions are 3:00–3:30, with a 4–8-bar intro and sung verse/chorus.

Mixing and mastering

Sonic goal

• Strong, clean sub, mono, stable in volume; snare as the star in the mids; punchy but short kick; stereo space provided by pads, FX and reverbs, never by the bass.
• Indicative balance when listening (peaks): sub and snare at the same perceived level, kick 1–3 dB below the snare, mid bass 2–4 dB below the snare, pads 8–12 dB below.
• References: RAM, Hospital, Shogun Audio productions; compare with the spectrum of a track by Sub Focus or Netsky (dancefloor) or Noisia (neuro).

Kick

• EQ: high-pass 25–30 Hz (24 dB/oct), boost 1–3 dB at 50–70 Hz (Q 1.2), cut 2–4 dB at 250–400 Hz (Q 2), boost 1–2 dB at 3–5 kHz for the click.
• Compression: often not needed; if so, a fast FET, ratio 4:1, attack 10–20 ms, release 50–80 ms, 2–3 dB of GR.
• Saturation: light clipper (Fruity Soft Clipper, Kclip) to gain 1–2 dB of headroom.
• Space: no reverb (at most a very short room, 0.2 s, very low). Mono.
• Automation: high-pass in the build, volume at −1/−2 dB in the breakdowns.

Snare and clap

• EQ: high-pass 100–150 Hz, boost 2–3 dB at 180–250 Hz (body), cut 2 dB at 400–600 Hz (boxiness), boost 2–4 dB at 2–5 kHz (crack), shelf +1 dB at 10 kHz.
• Compression: VCA or FET, ratio 4:1, attack 5–15 ms (lets the transient through), release 80–120 ms, 3–5 dB GR; then a transient shaper (FL's Transient Processor) with +attack.
• Parallel: snare bus compressed at 10:1, attack 1 ms, mixed in at 20–30%.
• Saturation: light tape or tube; clipper to remove 2–3 dB of peaks.
• Space: plate or room 0.6–1.2 s, pre-delay 10–20 ms, return filtered 300 Hz–8 kHz, very low (−18/−22 dB); in liquid a longer hall.
• Panning: center; ghosts sometimes slightly widened.

Hi-hats and percussion

• EQ: high-pass 300–600 Hz, cut 2–3 dB at 3–5 kHz if they are annoying, shelf +1–2 dB at 12 kHz.
• Compression: light or none; a slow compressor on the percussion bus to glue them (2:1, 1–2 dB).
• Breaks: high-pass 200–400 Hz, tape saturation or light bitcrusher (Fruity Squeeze, Decimort), heavy parallel compression.
• Space: short room, low 1/16 delay on the shakers.
• Panning: hats slightly right or left (10–20%), shakers opposite, ride centered or slightly off; breaks in narrow stereo (60–80%).

Bass and sub

• Sub: pure sine, low-pass at 100–120 Hz, absolute mono; dedicated limiter or clipper to keep it constant (variation < 1–2 dB). Check with an analyzer that the fundamental is between 40 and 60 Hz.
• Mid bass: high-pass at 100–150 Hz (24–48 dB/oct), then distortion (multiband, Fruity Blood Overdrive, Trash 2, Decapitator), OTT at 20–40%, dynamic EQ to remove resonances between 300 Hz and 2 kHz. Stereo: mid mono below 300 Hz, can be widened above with chorus or unison.
• Compression: the bass bus (sub + mid) with a slow compressor (attack 30 ms, release 100 ms, 2–3 dB) to glue.
• Sidechain: from the kick (and sometimes the snare) to the bass bus, 3–6 dB, release 60–120 ms.
• Automation: cutoff and drive on long notes, mid bass volume in fills.

Synths, pads, leads and guitars

• Pads: high-pass 200–300 Hz, cut 2–3 dB at 2–4 kHz if they cover the snare; light sidechain from the snare (2–3 dB).
• Leads: high-pass 150–250 Hz, presence 2–4 kHz, de-esser on supersaws between 6 and 9 kHz.
• Hall reverb 2–4 s, pre-delay 40–80 ms; dotted-quarter delay filtered 300 Hz–5 kHz.
• Stereo: wide pads (100–130% with Stereo Shaper), centered leads with wide layers.

Lead vocal

• EQ: high-pass 90–120 Hz, cut 2–3 dB at 250–400 Hz, presence +2 dB at 3–5 kHz, air +1–2 dB at 10–12 kHz.
• Serial compression: 1176 (FET) 4:1, medium attack, 3–5 dB GR, then LA-2A (opto) 2–3 dB; de-esser at 5–8 kHz.
• Light tape saturation; space with a 1.5–2 s plate, 40 ms pre-delay, and a dotted-quarter or eighth-note delay at −18 dB; throw at the end of the phrase.
• Reverse sidechain: light compression of the pads from the vocal (2 dB).

Backing vocals

• Doubles and harmonies at −6/−10 dB relative to the lead, higher high-pass (150–200 Hz), more reverb, panning 60–100%.

FX

• Risers and downlifters with high-pass at 200 Hz, lots of reverb; impacts with controlled sub (they must not exceed the level of the drop's sub).

Buses and groups

• Drum bus: glue compressor (SSL style) 2:1–4:1, attack 10–30 ms, auto release, 1–3 dB; light saturation; optional clipper.
• Bass bus: see above. Music bus (pads, leads, guitars): 1.5:1 compression and global sidechain.
• FX bus with high-pass and shared reverb.

Sidechain

• Kick → bass (3–6 dB, short release), snare → pads and reese (1–3 dB), vocal → pads (dynamic). Use Fruity Limiter in COMP mode with sidechain, Fruity Peak Controller, or LFOTool / Volume Shaper for precise shapes.

Master

• Typical chain: light corrective EQ → glue compressor (1–2 dB) → clipper (2–3 dB on the snare peaks) → limiter (Fruity Limiter, Pro-L 2) → check with a LUFS meter.
• Indicative targets (industry practice, not a standard): club −7/−5 LUFS integrated, short-term in the drops −5/−4; true peak −0.3/−1 dBTP. For streaming, the platforms normalize (Spotify about −14 LUFS), so a less squashed master (−8/−9) often sounds better after normalization.
• Dynamics: crest factor of the drops around 6–8 dB; the snare must stay "out front" even after the limiter.

Common mistakes

• Stereo sub or sub with chorus; reese that invades 60–100 Hz; snare drowned by the limiter; too much saturation on the bus flattening the transients; mixing at high volume (you lose judgment of the sub: also check at low volume and in mono).

Reference tracks for the mix

• Sub Focus — Rock It (2009); Netsky — Memory Lane (2010); Noisia — Machine Gun (2010); Pendulum — Tarantula (2005); High Contrast — If We Ever (2007).

Reference listening

• Goldie — Inner City Life (1994)
• Roni Size & Reprazent — Brown Paper Bag (1997)
• Ed Rush & Optical — Funktion (1997)
• Pendulum — Tarantula (2005)
• High Contrast feat. Diane Charlemagne — If We Ever (2007)
• Netsky — Memory Lane (2010)
• DJ Fresh feat. Rita Ora — Hot Right Now (2012)
• Rudimental feat. John Newman — Feel the Love (2012)
• Kenya Grace — Strangers (2023)