Halftime D-n-B Music Production w/ Whitebear/Form Null, Halfred & Re:Set

Halftime D-n-B Music Production
Whitebear/Form Null, Halfred & Re:Set

Recorded Course

20h online lessons LIVE
Discord Group for communication
Students assignments & track reviews
Project file, stems, patches & samples pack

€ 490

Teachers: Whitebear/Form Null, Halfred, Re:Set

Software: Ableton Live, Max4Live, Serum, Vital, Acustica Audio plugins, Fab Filters, Zynaptiq Morph, Izotope Trash, Kick2 Sonic Academy

Lessons: The Intro, The Drop (Beat Composition, Sound Design & Arrangement), The Second Drop (Sound Design & Arrangement), Arrangement & Finalization, Advanced Mixing Techniques, Mastering, Music Business

Downloads: Ableton Project file, Audio Stems of the finished track, Ableton Instruments and Effect Racks, Serum Patches, Sample Pack

Our goal is to bring together three of the best bass music producers and teachers for this course. Everyone who attends this course will be learning advanced techniques from industry professionals that will allow you to begin creating your very own complex sound productions.

Whitebear/Form Null, Halfred, and Re:Set are the chosen instructors for this course, who share the same passion for sound and experimenting with different genres. During the course, they will produce a collaborative Halftime Dnb track and guide you step by step through the entire process, from the synthesis right up to mixing and final mastering.

About Halftime Drum & Bass

Halftime drum and bass (DnB) is a subgenre of drum and bass music that combines elements of traditional DnB with influences of hip-hop, dub, and experimental music. It is characterized by a slower tempo (usually around 85-140 bpm) and a focus on complex rhythms and intricate sound design. The halftime DnB style often features heavy use of drums and basses, as well as chopped and manipulated fx, and often has a more experimental and exploratory feel than traditional DnB. Some notable halftime DnB artists include Ivy Lab, Tipper, and Chee, among many others.

Course Program

  • Day 1. The Intro w/ Whitebear/Form Null. Part 1
    03 March 12:00 CET
    On the first day, Arthur will be introducing you to new ways to approach your sound design and composition. Drawing inspiration from other disciplines, you will learn to reimagine your track as a living, breathing space that is inhabited, as opposed to just sounds arranged in time. Understand the "why" along with the "how", and set up a solid, well-informed, and intentionally designed foundation for the rest of your track.

    This module will cover:
    1. An anti-disciplinary approach that uses concepts/philosophies from architecture that can be used to inform your sound design/composition/arrangement decisions- in other words, viewing the soundscape as a physical space. Learn about the elements of form and the techniques required to achieve different characteristics within your sound.
    2. Contrast, why it matters and how to use it to your advantage.
    3. Develop a sound design cheat sheet.
    4. Synthesis with Serum: Pseudo infinite evolving pads, Lead sounds; how to breathe character into them and make them more interesting, Synth FX sounds
    5. Sound generation using a combination of the following to create the building blocks of your soundscape: Creative use of fx processing on existing sound material, Generating a large bank of sounds using randomization and re-sampling, Granular synthesis, Layering/morphing
    At the end of the module there will be a homework task to create a sound palette based on a series of prompts that you may choose from- this will be prepared for the practical portion of the next module.

    In the next section, we will be arranging these sounds based on your chosen prompt and you will create a soundscape/intro.
  • Day 2. The Intro w/ Whitebear/Form Null. Part 2
    10 March 12:00 CET
    Module 2 will have a short lecture section as well as an interactive/practical session.

    The lecture will consist of a talk on:
    1. Different ways to begin a track based on architectural concepts.
    2. Movement of form aka arrangement/progression.
    3. How to use the following to impart emotion/meaning into your soundscape: Consonance/dissonance, Violation of expectation (tension and release), Using silence effectively/keeping things simple, Utilizing the characteristics of physical space as a means of inciting an emotional response.
    4. Arrangement/placing of sounds with the intention of viewing the soundscape as a physical space, using creative mixing techniques.
    The practical section will be where you will build a soundscape using the sounds you created for homework based on one of two prompts:
    1. Recreate a building’s exterior/interior/surrounding landscape and envision how it would sound as a soundscape by analyzing: light/shadow, lines, repetitive forms, size of the space, material of the building/its surroundings etc.
    2. Choose a still/clip from a movie to enhance the environment with a reimagined soundscape.
    Arthur will demonstrate with an example to begin with and you will have a chance to use the sounds you’ve created as well as apply the knowledge learned from the last module to kickstart/further sculpt your sounds/soundscape and arrange it in real-time. This is your chance to get direct feedback from Arthur.

    Note: you may not finish this module with a completed soundscape, but you will have a well-informed starting point from which to develop your track further.
  • Day 3. The Drop w/ Halfred. Beat Composition, Sound Design & Arrangement
    14 March 17:00 CET
    The third day with Halfred will be fully dedicated to the production of the first drop. Here you will learn how to create the main elements of a beat from scratch, as well as techniques on how to incorporate foley sounds into the rhythm, tips, tools, and techniques to create complex bass and sound fx from simple ones, randomization techniques, and his concept of "dance between chaos & control".

    This module will cover:
    1. Drums Synthesis and drums layering approaches (Kick, Snare, HH, Percs) to create the main elements and their related elements.
    2. Foley sounds layering, manipulation, and techniques to create complex sounds from very basic elements, tips on how to use them in context, and ways to shape them into a specific rhythm and tone.
    3. Beat writing and arrangement: grooves extraction, swing, and off-grid pattern, drums humanization techniques, flamming, polyrhythms, micro-editing.
    4. Beat writing approaches analysis: reacting vs planning (pros and cons); randomness as a tool for inspiration (especially when you have creative blocks).
    5. How to create different energy levels and transitions with the beat elements and quick mixing tips.
    6. Synthesis of bass sounds using FM and subtractive synthesis, layering and resampling techniques, effects chains, and audio warping manipulation techniques.
    7. How to combine all the elements that have been created so far and write the first drop of the track focusing on percussive-style sounds and how to incorporate call & response into your music.
    After day 3, students will be required to complete an assignment based on what they’ve learned in this lesson. You will be asked to pick a very basic sound from a sample pack we will provide and create a 1-minute resampling "mudpie", using all the tips and techniques shown throughout the class.

    The final file should showcase the chosen sample in its dry form before and then all the variations you’ve built from it. Upon completion, you may upload your audio file on FMA’s Discord channel to receive personal tips and feedback from the teachers.
  • Day 4. The Second Drop w/ Re:Set. Sound Design & Arrangement
    17 March 17:00 CET
    During day 4, Francesco will continue the arrangement of the track, where you will learn how to create impactful elements for the second drop. The module will cover several sound design techniques combining Serum, Vital and other Max 4 Live tools to create solid Basses, Fxs, interesting atmospheres, and much more.

    Arm yourself with all the fundamentals you will need to create bass music:
    1. Setup a synth and create basses using saturation, compression, and different modulations.
    2. Create interesting sounds and add excitement to your tracks by using (re)sampling techniques, foley, and granular sampling.
    3. Hype your drops with techniques like resampling, layering, and sample chops.
    4. Compose killer bass riffs and arrange them using variations and filter modulation.
    5. Make your drum patterns really swing using off-grid rhythm techniques.
    6. Create all kinds of weird sounds and glitches that will add interest and movement to your music.
    7. Sound design techniques to make pads and ambiances.
    8. Play with arrangements to create interesting and exciting moments in your track.
    After day 3, students will be required to complete an assignment based on what they’ve learned in this lesson. You will be asked to pick a very basic sound from a sample pack we will provide and create a 1-minute resampling "mudpie", using all the tips and techniques shown throughout the class.

    The final file should showcase the chosen sample in its dry form before and then all the variations you’ve built from it. Upon completion, you may upload your audio file on FMA’s Discord channel to receive personal tips and feedback from the teachers.
  • Day 5. Arrangement & Finalization w/ Halfred (co-hosted by Whitebear & Re:Set)
    21 March 12:00 CET
    During the fifth day of the course, Halfred will work on the last part of the tune and finalize the collaboration, adding final touches and decorations, before the final mixing stage.

    He will demonstrate how to create coherency and unity within your track by focusing on the arrangement as well as the transitions between parts and different sounds in the mix so that they belong to the same "space".

    During this session, the other instructors will be providing feedback and suggestions, and you are encouraged to participate in the chat and have your say as well! Halfred will then create sounds based on the collective input, which will be put into the context of the track.

    After day 5, students will be required to complete an assignment based on what they’ve learnt so far. You will have the opportunity to practice the tools acquired in the last 5 modules to create a 32-bar Halftime drop from scratch. Upon completion you may upload your audio file on FMA’s Discord channel to receive personal tips and feedback from the teachers.
  • Day 6. Advanced Mixing Techniques w/ Re:Set
    24 March 17:00 CET
    During day 6, Re:Set will teach the students his "Advanced Mixing Techniques" module. Here you will learn how to emulate the character of analog equipment within the software realm to give character, color, and warmth to the production and improve the translation of individual elements within your track. You will also learn how to read the 'vision 4x' analyzer to better understand and improve your mixes by visualizing what your sound is doing within the mix.

    After day 6, students will be provided with the full stems of the collaborative track produced and will have the chance to utilize and demonstrate the new Advanced Mixing Techniques acquired in day 6. Students will post their mixdown on FMA’s Discord page for direct tips and feedback from the teachers.
  • Day 7. Mastering w/ Re:Set
    28 March 17:00 CET
    During the last session, you will get access to Francesco’s approach to mastering, showing all the necessary techniques to bring the mixdown to its final state.

    This module will cover the following topics:
    1. Setting up a Mastering session
    2. Listening and Analyzing
    3. Eq-ing (m/s)
    4. Removing ringing points and resonances before compression (Fine Eq)
    5. Tonal eq (mastering equalizers)
    6. Compression (mastering compressors)
    7. Stereo control (philosophy and techniques)
    8. Saturation
    9. Clipping/Limiting
    10. True Peak (why and when)
    11. Dithering
    12. Mp3 files conversion and metadata
    Following day 7, students will be provided with the final premaster of the track produced by the teachers, and will exercise mastering duties! Students will upload their masterings to the FMA’s Discord page for direct quality control, tips and feedback!
  • Day 8. Q&A + Music Business w/ Whitebear, Halfred & Re:Set
    31 March 12:00 CET
    On the last session, devoted to questions ans answers we will also discuss some theortical topics:
    1. Music Business
    2. Placements for TV, Ads, Film industry
    3. Personal Experiences etc
    At the end of the course, you will be equipped with cutting-edge sound design techniques, arrangement, and composition concepts, as well as mixing and mastering tips that put you in control of the quality of your track from start to finish.

    Students will have the chance to post their finished Halftime tracks on FMA’s Discord page to be reviewed, and the best production picked by the teachers will be released on the FMA’s record label.

Whitebear/Form Null

Arthur Song is a sound designer, music producer, composer and performer, and has been producing and performing electronic music professionally for the last decade.

"Whitebear" was the initial project that set him on this path of music production and sound design, and has taken him to over 18 countries around the world, having performed at notable festivals such as Rainbow Serpent Festival (AUS), Shambhala Festival (CAN), Boom Festival (POR) and many more. From the inception of the project in 2011 until its retirement in 2019, Arthur has forged his own unique flavour of midtempo psychedelic bass music, and as such has carved out a place for himself in the global psychedelic scene. For now he has taken a step back from performing and has laid the "Whitebear" project to rest, to pursue other creative endeavours, namely the "FORM NULL" project, birthed in 2020.

"FORM NULL" is the result of a desire to remove the limitations placed on creativity by genre, expectations and dance floor sensibilities. It is an exploration in the immersive nature of soundscapes, and its ability to transcend both concepts of time and space. Ranging from ambient/drone music to the signature earth shattering bass we’ve come to know from the "Whitebear" project, "FORM NULL" is an experiment in sound.


Halfred is the culmination of years and years of aural exploration. Originally a drummer, the Italian-born sonic warrior found his roots in drumming which led him to music production, along with a degree in electronic music production at SAE, in Milan. His eclectic approach makes it hard to categorize his music and this is partially due to the fact that his sound breaks the often repetitive mold of psy music, seamlessly taking the forms of dub, hip-hop, drum n bass, garage, and world music and while staying true to his signature sound and focused on the micro details, he’s constantly experimenting with the squishy and granular side of psychedelic mid-tempo, drum and bass, dubstep, Psy bass and all things psychedelic.

During the last few years, he collaborated with and remixed top-notch artists like Desert Dwellers, Whitebear, Tribone, Zebbler Encanti Experience, Duffrey, Tryptich and had music released on labels such as Merkaba Music, Shanti Planti, Outtallectuals, Gravitas Recordings, Wakaan and more, as well as playing many festivals and nights in the European and North-American scene, such as Modem, Hadra, Shankra, Own Spirit, Lost Theory, Sonica, Create Culture, Wormhole Wednesdays and Cosmic Sinergy Final Fridays.

Francesco Luigi Lenci aka Re:Set, Artificial Behavior and Nocturnalism

Francesco Luigi Lenci, studio manager at Hypertone Studio, is a music producer, sound engineer, sound designer and teacher based in Berlin. He is also known as Re:Set, Artificial Behavior, and Nocturnalism.

During his life, he performed in festivals such as Modem Festival, Freqs of Nature, Feel, Wao, Human Evolution etc. and released music with record labels such as: Muti Music, Addictech Records, Digital Structures, Bassic Records, Open Records, Outtallectuals, Adapted Records, Ammunition Recordings, Subculture Music, Quintessence and many more…

On the other hand, Francesco has worked as a sound designer delivering high-quality sample packs for companies like Premier Sound Bank and ADSR reaching the 1# position in Beatport Sounds (Drum & Bass) multiple times.

With over 15 years of experience and passion for audio, he has trained numerous students covering different styles of music from Psy Trance to Dark Prog, Techno, Breakcore, Drum & Bass etc, helping them to achieve their goals in sound sculpting and sound quality.

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