Chromeo "Juice" Breakdown: Synths in Serum

Our Chromeo series keeps going! We recently remade their mesmerizing track "Lost and Found", and today we're turning our attention to one of their biggest hits, "Juice".

"Juice" is a standout single from Chromeo's fifth studio album, Head Over Heels (2018). It sums up Chromeo's signature sound: catchy melodies, funky basslines and groovy drums with a modern production approach. In this tutorial we'll go through the sound design behind each part of the song, one sound at a time.

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HOW TO SOUND LIKE CHROMEO

- Chromeo "Lost and Found" Breakdown

- Chromeo "Clorox Wipe" Breakdown

The Stab Chords

Let's kick things off with the signature stab chords used throughout the song. Begin by selecting the Basic_Cjw wavetable for oscillator "A" and ICanHasKick for oscillator "B". Now crank up the warp knob on oscillator "B" to bend the wavetable. Next, use envelope 1 with an attack time of 40 ms to modulate both the filter cutoff and the resonance, which should be at around 50%, to give those stabs their distinctive sound.

The Melody

Now let's focus on another key element of the track: the recurring melody you hear all through "Juice". It starts from a similar foundation to the stab chords preset. In oscillator "A" we have an ICanHasKick waveform, and in oscillator "B" a Basic Shape, bent by the warp knob. What makes this sound different is the very high filter resonance, modulated by envelope 1, which gives the melody its characteristic sound. In the FX tab, use a quarter-note delay and a filter to cut some of the low end.

The Reese Bass

When we reach the bridge of the song, this reese bass comes in and adds depth and movement to the track. For this patch we used an MB Saw wavetable in oscillator "A" and paired it with a Basic Shape in oscillator "B". To shape the bass, use a filter to trim the frequencies above 300 Hz, which keeps the low end clean and focused. LFO 1 is modulating the levels of both oscillators and the filter cutoff, simulating a sidechain effect. To enhance the groove, also turn on Mono and Legato to slide between notes.

If you listen closely, you'll hear an important detail: as the sound goes on, the cutoff slowly opens while the resonance slowly rises. We achieved this by automating both parameters in Ableton.

The Bass

For this synth patch, we start with a Basic Mg waveform in oscillator "A" and a BS2 - Acid wavetable in oscillator "B". Envelope 2 is modulating the filter cutoff, making it sound plucky. In the FX tab, we boost the low end with an EQ for a solid foundation and add distortion to give the sound a gritty, textured quality.

The Funky Lead

Making this funky lead sound was an absolute joy. We started with a SQR_SAW_Wrd waveform in oscillator "A" and paired it with an ICanHasKick waveform in oscillator "B". To add some brightness and character, we dialed the FM of oscillator "B" to around 65%. For the filter, we settled on a resonance of about 40%. LFO 1 is modulating the fine-tuning of both oscillators, adding some movement, while envelope 2 works as an auxiliary source to gradually increase the fine-tuning modulation.

The Guitar

As we enter the second verse, this guitar comes in, and once again we're using Serum as our trusty sampler. We began by recording a C note on a Stratocaster and imported it into Serum's noise oscillator, with both pitch tracking and one-shot mode turned on. Next, we added an Analog_BD_Sin waveform in oscillator "A" with frequency modulation coming from the noise oscillator, which makes the sine wave sound very similar to our one-shot and adds another layer of depth to the patch. Then route the velocity to the levels of both oscillators for a more organic sound.

The Bridge Lead

In the second bridge of the song, a captivating lead sound comes in. To make it, we paired a Basic_Wrd waveform with a Sine wave, an octave apart. Both oscillators are set to two voices to add some width, and oscillator "B" has subtle frequency modulation. To shape the sound further, we set the filter cutoff to trim frequencies above 6 kHz and take away some brightness. Then LFO 1 is modulating the fine-tuning of both oscillators, giving the lead some vibrato.

To make the LFO build up gradually, use an envelope as an auxiliary source. You'll find this in the Matrix tab.

The Resonant Chords

Also in the second bridge, these resonant chords make their grand entrance and take the track to another level. We begin by selecting a SQR_SAW_Wrd waveform for oscillator "A" and adding a touch of sync on the warp knob for extra brightness. Oscillator "B" has a PWM MG waveform, and both oscillators have 9 unison voices, subtly detuned. The most important part is an envelope with a long decay, routed to both the cutoff and the resonance of the filter. That combination of a long envelope decay and high filter resonance gives you an amazing sweeping effect.

Make your own Juice-style track.

You've heard how the stab chords, the melody and the reese bass are built. The French House Pack has sounds like these ready to load in Serum, along with the rest of its 120+ presets.

Want the whole palette? The Disco Bundle adds 7 more disco and funk packs: eight packs for $49.90.