Journeys in Drum ‘N’ Base with Jake Ridley

Jake Ridley has been writing and producing electronic music for over 20 years. Combining the energy of early 90s rave with the production expertise of present-day tech, progressive and drum ‘n’ bass, his tracks are defined by precise driving beats, funky baselines and euphoric breaks to get your head nodding, foot tapping and face smiling.

Jake has remixed a number of high-profile artists including Christina Aguilera ‘Ain’t No Other Man and Hurt’ and his release Pause Rewind was featured on The Wonderments section of Pete Tong’s Radio 1 show.

His music can be found on numerous commercials (VW, Adidas, Rexona, Lipton) and computer games and apps (DJ Hero 1&2, Weav). He has also scored two films – the award winning short ‘Flyspy’, and ‘1 Way Up’ which was aired on MTV.

Jake sat down with LBB to discuss his latest release with Lyndn Gauntlett, and experiencing electronic music come into its own.

LBB> When you’re working on a new brief or project, what’s your typical starting point? How do you break it down and how do you like to generate your ideas or response?

Jake> Writing on your own can be like driving into an empty car park – difficult to know where to park because there are too many options!

If the brief is for a specific genre I’ll do my research and immerse myself in music of that style, listen to Spotify playlists, mixes, etc, getting into the detail of it, tempo, structure, sound palette.

The initial idea will either be driven by a certain sound, or a riff. The Club Symphonica album I’ve just finished was a collaboration with my friend Lyndn Gauntlett - he would send me a string chord sequence, eight or sixteen bars and melody line and I’d build up drums, bass and synths around that. I also love getting acapellas to play with. They’re a fun starting point, seeing what works, what can be chopped about and building a track around them.

LBB> Music and sound are in some ways the most collaborative and interactive forms of creativity - what are your thoughts on this? Do you prefer to work solo or with a gang - and what are some of your most memorable professional collaborations?

Jake> I love a long-distance collaboration!

Getting ideas from someone else, be it string parts or vocals, and using them as a starting point is great fun and also really speeds up the initial stages of composition. It’s why I enjoy remixing so much. One of my first remixes years ago was for Christina Aguilera and I remember getting the stems from Sony and being terrified about not doing them justice.

But actually when you have a great vocal it gives you confidence to up your game, be bold and get stuck in.

LBB> What’s the most satisfying part of your job and why?

Jake> Starting with nothing and then getting to the end of the day with something I’ve created, or if I’ve been sent parts then it’s the challenge of doing something unexpected that works. Sometimes if I’ve had a great creative day I can’t sleep afterwards, the endorphins are still pumping around my body!

LBB> As the advertising industry changes, how do you think the role of music and sound is changing with it?

Jake> Advertising follows trends like everything else. At the moment there are a lot of re-records: I understand why they do it, it’s nice to hear something familiar in an unfamiliar setting but when everyone is doing it, it sounds like a cliché.

LBB> Can you talk a little bit about the technological developments in sound design right now? Can you explain the tech to us laymen and describe what opportunities they bring?

Jake> For me it’s all about the software to create the sounds – plug-ins are becoming increasingly powerful but at the same time easier to use, so sound design gets taken to another level of complexity.

LBB> How do you see the future of sound design? And is the metaverse a dream opportunity for immersive sound design?

Jake> In terms of sound design you only need to listen to some current drum ‘n’ bass to hear how far things have come. It sounds simple but actually a huge amount of work goes into making sounds so powerful. I was at Boomtown festival this year listening to some gnarly DnB and my friend commented ‘It sounds like an oil rig collapsing’ he wasn’t wrong, it was incredible! And yet somehow also musical.

LBB> Who are your musical or audio heroes and why?

Jake> Pet Shop Boys (first tape I ever bought) for forging their own electronic, sardonic and thoughtful path, John Barry for his epic, driving and beautiful James Bond scores, Andy C and Sub Focus for their incredible basslines : )

LBB> And when it comes to your particular field, are there any ideas or pioneers that you go back to frequently or who really influence your thinking about the work you do?

Jake> There’s so much fantastic new music coming out all the time. I try to keep track by going to a few festivals each year and listening to as much as I can on Spotify and Beatport. The influences change almost weekly but I try to absorb the good stuff and remember it when I’m writing.

LBB> When you’re working on something that isn’t directly sound design or music (lets say going through client briefs or answering emails) - are you the sort of person who needs music and noise in the background or is that completely distracting to you? What are your thoughts on ‘background’ sound and music as you work?

Jake> Depends what I’m doing – I have to have something fast and heavy on for my tax return to stop me nodding off!

LBB> I guess the quality of the listening experience and the context that audiences listen to music/sound in has changed over the years. There’s the switch from analogue to digital and now we seem to be divided between bad-ass surround-sound immersive experiences and on-the-go, low-quality sound (often the audio is competing with a million other distractions) - how does that factor into how you approach your work?

Jake> Shorter tracks! No-one wants anything over 2:30 these days… I don’t over-think how people are listening to it when I’m writing. Once I’ve got a track it needs to sound good in my studio, on my laptop speakers and in my car. When I’ve got to that stage I’m happy.

LBB> On a typical day, what does your ‘listening diet’ look like?

Jake> If I’m writing I don’t listen to any other music at all unless I need to A-B a mix or check the details of a genre (am I using the right HiHat/Snare?!). At lunchtime I’ll put on Radio 4 if I need some company but I like to give my ears a rest. I listen to a lot of music in the car and in the kitchen although my kids often complain!

LBB> Do you have a collection of music/sounds and what shape does it take?

Jake> I listen to Spotify a lot. I like to make my own playlists. I want to know what I’m listening to so don’t really like the algorithm telling me what I like, plus it’s a blunt tool that frequently makes incorrect assumptions. Or maybe I’m just picky.

LBB> Outside of the music and sound world, what sort of art or topics really excite you and do you ever relate that back to music?

Jake> I run a local Pickleball club and like to do a playlist for that, it makes it a vibe!

LBB> Let’s talk travel! It’s often cited as one of the most creatively inspiring things you can do - I’d love to know what are the most exciting or inspiring experiences you’ve had when it comes to sound and music on your travels?

Jake> I’m involved in organising events for a major record label so have had my fair share of good trips. We had a party in New York with Cardi B performing just when she was breaking through. It’s not really my sort of music but when she got on stage, with a huge sound system and a crazy crowd it suddenly all made sense. I was like ‘Oh I get it now! This is amazing!’

LBB> As we age, our ears change physically and our tastes evolve too, and life changes mean we don’t get to engage in our passions in the same intensity as in our youth - how has your relationship with sound and music changed over the years?

Jake> I feel so lucky to be around in an age where electronic music has come into its own. The music and sound is so much better now that it was back in the day! And the live shows are an assault on the senses - we used to get excited about a laser and a smoke machine!

But there’s something about the excitement of hearing electronic music as it’s meant to be heard, nose-bleed loud on a huge speaker stack, it brings a smile to my face every time. I don’t think you ever lose that. Although let’s see how my hearing is in 20 years time…