Character of the mix
Reggae is built on bass and drums (the riddim): deep, round, melodic bass, kick and snare (often the rimshot) on the third beat in the one drop, skank guitar and bubble organ on the offbeats, vocals up front. Dub is reggae transformed by the engineer: instruments are dropped out and brought back in, and tape delays, spring reverbs, filters, and feedback are used as musical instruments. Tempo 60–90 BPM (feel), steppers faster.
Typical balance
| Element | Level relative to the mix |
|---|---|
| Bass | −4/−6 LU (dominant) |
| Vocals | −5/−7 LU |
| Kick | −9/−11 LU |
| Snare/rimshot | −8/−10 LU |
| Skank guitar | −11/−14 LU |
| Bubble organ, piano | −11/−14 LU |
| Hi-hat | −12/−15 LU |
The reggae bass is louder and softer than in rock: round, with few highs.
EQ
- Bass: 50–100 Hz full, LP 2–4 kHz (no bright attack), mids 400–800 Hz moderate.
- Kick: 60–80 Hz, short.
- Snare/rimshot: crack 2–5 kHz, body 200 Hz.
- Skank: HP 200–400 Hz, presence 2–4 kHz, very short; often with delay.
- Bubble organ: HP 150–200 Hz.
- Vocals: presence and warmth, obvious reverbs.
Dynamics
- Bass compressed for evenness (4–6 dB, opto).
- Lightly compressed drums: rimshot and hi-hat must have transients.
- Dub: compression and saturation on the delay loop.
Space and stereo image
- Bass, kick, snare, vocals in the center; skank and organ from opposite sides.
- Spring reverb and tape delay (dotted quarter, dotted eighth) as the signature of dub, with automated feedback up to controlled self-oscillation.
- Automated high-pass filters on the returns and instruments to create “holes” and re-entries.
Dub techniques
- Instruments muted/unmuted as a live performance (drop outs).
- Automated delay sends on single snare hits, skank chords, vocal phrases.
- Feedback raised until the repeats build up, then lowered.
- HP and LP sweeps on the returns.
- Spring reverb struck (the spring “crash” effect).
Reference loudness
Classic remastered reggae −12/−10 LUFS; modern productions −9/−7 LUFS. True peak −1 dBTP.
Reference tracks
Bob Marley & The Wailers “Exodus”, Augustus Pablo “King Tubby Meets Rockers Uptown” (dub by King Tubby), Damian Marley “Welcome to Jamrock”, Chronixx “Skankin' Sweet”.
Common mistakes
- Bass too bright or too thin.
- Skank long and full of lows.
- Dub delays without filters: mud at 200–500 Hz.
- Excessive drum compression: the one drop loses its breath.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Bass | −4/−6 LU, LP 2–4 kHz | Foundation of the riddim. |
| Skank | HP 200–400 Hz, very short | Precise offbeat. |
| Dub delay | Tape delay dotted quarter or dotted eighth, automated feedback | Signature of the genre. |
| Reverb | Spring | Jamaican character. |
| Modern master loudness | −9/−7 LUFS | Level. |
Frequencies to watch
| Range | What to do |
|---|---|
| 50–100 Hz | Full, round bass, dominant. |
| 200–400 Hz | HP on skank and organ; mud from dub delays. |
| 2–5 kHz | Rimshot and skank: definition. |
| Above 4 kHz | LP on the bass: soft sound. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Riddim | Drums and bass → bus | 1–3 dB | Groove. |
| Bass | EQ → opto | 4–6 dB | Evenness. |
| Skank and organ | EQ → delay | HP 200–400 Hz | Offbeat. |
| Dub | Sends → tape delay / spring → filters → saturation | Automation | The art of dub. |
| Master | Glue → limiter | −9/−7 LUFS | Level. |
How to check the result
- Bass band: the strongest in the mix (dominant bass); Side/Mid at −20 dB or lower.
- Master crest factor 8–12 dB.
- Presence band: rimshot and skank present, no harsh peaks.
- Low-mids band: no higher than the Bass band despite the delays.