Melbourne Bounce [Fr] Songwriting Advice

Want a festival banger that slaps the floor and gets people doing that half confused half ecstatic bounce? Melbourne Bounce is loud, cheeky, and built to make a crowd lose its mind. This guide breaks down exactly how to write songs in this style with real songwriting strategies, production-aware tips, and promotional moves that actually work. We will explain every term so you stop nodding along like you know what RMS means and start using it to make your drop heavier than your ex texting at 3 a.m.

Everything here is written for artists who want results fast. You will get a clear songwriting workflow, melodic and vocal topline ideas, rhythmic blueprints, sound design notes, mixing tips that matter, and release tactics that increase your chances of getting played. If you want a Melbourne Bounce track that hits in a club and sounds pro on streaming platforms, read on.

What is Melbourne Bounce

Melbourne Bounce is an electronic dance music style that grew out of the Australian club scene in the early 2010s. It is energetic and percussive with a bouncy rhythm pattern and an emphasis on short, punchy bass stabs and vocal chops. The genre is playful and often a little nasty in the best way. Think of big room energy with a twitchy, syncopated bass that makes people bounce on their toes.

Key characteristics

• Tempo usually between 125 and 132 BPM. BPM stands for beats per minute and measures the speed of the track.
• Short, rhythmic bass stabs that sit on offbeats and create a pogo feeling.
• Bright lead sounds and vocal chops used as melodic hooks.
• Simple chord progressions so the rhythm and groove are the focus.
• Club friendly arrangement that prioritizes predictability and big drops.

Start with the Groove

If Melbourne Bounce is a body, the groove is the spine. Before you write a lyric or record a vocal, lock in the beat and the bass pattern. This is the moment where the song earns permission to be loud.

Choose the right tempo

Set your DAW to something between 125 and 132 BPM. DAW means digital audio workstation and that is the software you use to make the track. A few BPMs change the whole energy. 128 BPM is comfortable and dance friendly. 130 BPM can feel more aggressive. Do not overthink it. Pick a tempo that matches the vibe you want and record a short loop.

Drum pattern blueprint

Typical Melbourne Bounce drums are straightforward and punchy. Start with a four on the floor kick on every beat. Add claps or snares on the two and the four to keep the club pocket. The bounce comes from percussion and groove on the offbeats. Use syncopated hi hats and a shuffled ride pattern to make the groove sway.

Real life scenario

Imagine you are programming a beat on your laptop in a hotel room between a flight and a soundcheck. You want something fast to show the band. Put a kick on 1 2 3 4, clap on 2 and 4, then program a sixteenth note hat loop with swung timing. The beat will immediately feel more alive and that is the point.

Percussion makes the pocket

Layer congas, shakers, and small percussive hits. Automate subtle volume and pan movement so the rhythm breathes. Keep one percussive loop with a clear sonic identity and let it appear and disappear. Percussion is like glitter. Use enough to look exciting and do not overdo it or the mix will look like a craft project gone wrong.

Basslines and Stabs That Move the Crowd

The Melbourne Bounce bass is not long and flowing. It is short and declarative. That is the emotional trick. A tight bass stab repeated at the right moments becomes a signature gesture people remember.

Bass sound design

Design a bass patch with a strong transient and short sustain. Use a saw or square wave layered with a sub sine for the low end. Use a short decay on the amplitude envelope so the note punches and releases quickly. If your synth has an ADSR envelope explain ADSR as attack decay sustain release. Attack controls how fast the sound starts. Decay controls how it falls to the sustain level. Sustain is the steady state level. Release controls how the sound fades after you stop holding the key.

Add a slight pitch envelope on the attack to give the bass a snap. Use a low pass filter and automate a small opening in the chorus to add brightness when you need it. Keep the sub under control with a clean sine layer for club systems. Use sidechain compression keyed to the kick so the kick breathes through the bass. Sidechain compression means you temporarily reduce the bass volume when the kick hits to avoid low end mud.

Rhythmic patterns that bounce

Melbourne Bounce bass often plays on offbeats. Try patterns where the bass hits between kick hits creating a push feeling. Use triplet or dotted rhythms occasionally to keep listeners guessing. The essence is to create tension and release inside a two bar loop.

Example pattern idea

• Bar one: Kick on 1 2 3 4, bass stab on the "and" of 1 and the "ah" of 3.
• Bar two: Bass plays a short melody of three quick stabs leading into the downbeat.

That quick melody becomes your bounce signature.

Melody and Topline Writing

Melbourne Bounce is not known for long singer songwriter verses. It is about hooks, vocal chops, and earworm phrases. Your topline is the thing fans hum between beers.

Write a hook first

Start with a one line hook you can sing into your phone. This is not the time for Shakespeare. Keep the language simple, present, and slightly bratty. Think of a line a crowd can shout back at you. Examples: I want loud now, or Bounce with me until the sun comes up. Put the hook on a strong melodic gesture that repeats.

Real life scenario

On the tram going home you hum the melody and record it on your phone. Later you listen and realize the second half could be a perfect repetitive hook. That is how many great EDM hooks appear. Record everything even if it is embarrassing. Your future streaming revenue will appreciate the honesty.

Vocal chops as instruments

Vocal chops are tiny fragments of sung or spoken lines that you pitch, slice, and rearrange into a melodic or rhythmic instrument. Chop a short phrase, paste it on a MIDI track, tune it to your key, and play it like a synth. Use formant shifting or pitch shifting to keep the character while changing pitch. Formant shifting changes the perceived vocal tone without changing pitch.

Creative uses

• Use a two syllable chopped pattern as the main melody over the drop.
• Create a call and response between a chopped vocal motif and the bass stab.
• Use chops as a bridge element that foreshadows the final drop.

Writing verses in this style

Verses are short and functional. Use them to set a tiny scene and build to the hook. Keep lyrics concise. Use sensory details and a time or place crumb so the song feels specific. For example instead of I miss you, try I left your jacket on the subway seat and it still smells like cinnamon. That gives flavor and truth.

Harmony and Chord Choices

Melbourne Bounce does not need complex jazz chords. Simple triads or suspended chords provide a clear harmonic space for the rhythm and melody. The genre often uses major keys for a brighter feel but minor keys work if you want a darker club vibe.

Common progressions

Try these small palettes

• I V vi IV. A classic pop loop that gives energy and resolution.
• i VI III VII in minor keys. Gives a slightly more anthemic dark bounce.
• Single chord vamps with bass movement. Keep the harmony static and let bass and vocal chop do the work.

Keep chord changes simple and let the rhythmic elements carry drama. Overcomplicating chords often competes with the percussive nature of the style.

Arrangement Templates That Work

Structuring a bounce track is about timing moments of release. DJs like predictability so make the drops obvious and satisfying. Here is a simple blueprint you can steal and use for club reads and streaming alike.

Arrangement blueprint

• Intro 0:00 to 0:30. Beat only or beat plus signature vocal chop.
• Build 0:30 to 1:00. Add percussion, hats, and a rising filter sweep.
• Drop 1:00 to 1:30. Full bass stabs, vocal hook, and wide lead.
• Break 1:30 to 2:00. Pull elements back. Introduce a verse or small vocal phrase.
• Second build 2:00 to 2:30. Longer tension, white noise, pitch riser.
• Big drop 2:30 to 3:00. Add an extra layer or variation to keep it fresh.
• Outro 3:00 to 3:30. Wind down for a DJ to mix out or a listener to catch breath.

Keep your first hook arrival by around the one minute mark. Too late and dancefloors lose interest. Too early and the track feels front loaded.

Production Notes That Songwriters Should Know

You can write a great bounce song without being a mixing engineer. Still, basic production awareness helps you write parts that sit in a mix and translate to club systems.

Use contrast intentionally

Make drops feel huge by removing elements right before they land. Silence or a single clap on the last bar before the drop makes the first bass stab feel physically stronger. Small space tricks make the brain expect impact and then reward it.

Sidechain and ducking

Sidechain compression is essential. It creates the pumping effect and clears the low end. Key the compressor to the kick so bass and pads duck slightly when the kick hits. Use a fast attack and medium release. If you prefer the sound of volume automation use that and make sure the ducking still grooves with the kick pattern.

Keep the sub clean

Club systems are cruel. Use a clean sine or triangle sub for the 40 to 80 Hz range and keep distortion to mids only. If you add saturation to the sub it can sound glorious on headphones and terrible on club speakers. Use a dedicated sub channel and mono it to avoid phase issues on large PA systems.

Mixing quick wins for songwriters

• High pass everything that does not need low end. If it is not bass, roll it off under 120 Hz to make space.
• Use transient shaping on the bass and drums to sharpen attacks.
• Add a small amount of parallel compression on drums to make them punch without destroying dynamics.
• Use EQ subtraction rather than boosting. Cut problem frequencies and then tastefully boost to add air above 8 kHz if needed.

Vocal Performance and Processing

Vocal delivery in Melbourne Bounce can range from shouty festival chant to smooth topline singing. Choose a style that suits the hook. Clean takes make everything simpler later.

Recording tips

Record multiple passes. Double the main hook for width. Record ad libs and small exclamations like hey or come on for energy. Use a pop filter and aim for consistent distance from the mic. If you record on your phone send the raw file to your DAW because sometimes the strangest phone take has the right vibe.

Processing chain

Typical vocal chain: cleaning and comping, equalization, light compression, de-essing, creative effects. For vocal chops use pitch correction and formant shifting to create distinctive characters. Delay and reverb add space. Use short plate reverb and a slap delay for rhythmic interest. Automate wet levels so the reverb does not wash the drop.

Writing for Live Performance

If your plan includes playing a live set, write with nouns that create moments. Add a live chant or a call and response. Design a final chorus that invites the crowd to participate physically so the clip you post on social media looks insane and gets shared.

Real life scenario

You are playing a small festival and the crowd needs a simple moment to latch onto. Teach them a two word chant in the break. During the drop they will scream it back and your crowd footage will look like a main stage moment even if it is a murky tent at 3 a.m.

Songwriting Workflow for Melbourne Bounce

Here is a practical workflow you can use to finish tracks faster and keep creative momentum.

1. Create a two bar drum and bass loop that captures the bounce and groove.
2. Hum or sing topline ideas into your phone over that loop. Capture the first idea and the second idea. Many great hooks arrive in the first five minutes.
3. Choose a hook and turn it into a vocal chop instrument. Build a short arrangement around it to test the hook in context.
4. Draft a verse phrase for contrast. Keep verses short. Use a time or place detail.
5. Design build sections with risers, percussion rolls, and automation that increase energy. Use white noise and high frequency movement to reward anticipation.
6. Test the track in mono and on cheap earbuds. If the bass disappears on small speakers fix the mid bass and layering.
7. Export a rough mix and play it for a DJ friend. Ask one specific question like Does this drop hit hard enough on club speakers. Use the feedback to iterate.

Release and Marketing Tips for Bounce Tracks

Great songs need strategy. Melbourne Bounce sits both in festival sets and in short form video content. Use each channel to fuel the other.

Short form content

Create three to five second clips that show the drop with a visual you can recreate. A dance move, a jump cut, or a silly face works. Short form platforms favor repeatable gestures so make one. The vocal chop can be your hook in these clips.

DJs and promo pools

Send your track to DJ promo pools and playlists with a clean instrumental version and a DJ friendly intro. DJs like intros that are easy to mix. Provide stems and an acapella for remixers. A remix can extend reach and land you in new sets.

Metadata and pitching

Tag genres properly. Use keywords in your artist bio and track description. Pitch to editorial playlists with a short compelling note that explains the crowd reaction your track generates. Include tempo and suggested mix in the pitch. For example say 128 BPM club mix with strong sub and vocal chop tag. This helps playlist curators and DJs understand the track quickly.

Legal and Business Basics

Do not mess around with uncleared samples. If you use a vocal sample, either clear it or recreate it. Register your song with a performance rights organization. PR stands for performance rights and that is the money that pays when your track is played publicly. In the United States that might be ASCAP or BMI. In other countries there are similar organizations. Register writers and splits early so you do not fight about money later.

Real world scenario

You co-wrote a hook with a friend in a studio binge. If you do not decide splits and register the song, the royalties may go to the wrong people. That is a drama you do not need when the playlist money starts rolling in.

Common Mistakes and How to Fix Them

• Overcomplicated drops. Fix by simplifying the bass stab and making the vocal chop the star.
• Weak sub energy on clubs. Fix by layering a clean mono sub sine under your bass and checking in mono playback.
• Too many melody ideas. Fix by picking one hook and doubling down. Repetition in dance music equals memorability.
• Ignoring the DJ audience. Fix by creating DJ friendly intros and providing stems for mixing.
• Poor arrangements for live sets. Fix by creating call and response moments and short drops that repeat for crowd energy.

Practice Exercises to Improve Your Melbourne Bounce Writing

Two bar hook drill

Set a two bar loop with drums and bass. Give yourself five minutes to write three different vocal chop melodies. Pick the best one and expand it into a full drop arrangement. This trains your ear to find repeatable gestures quickly.

Minimalist challenge

Make a full bounce track that uses only four distinct sounds: kick, bass stab, vocal chop, and a hat loop. This teaches you to make each element count. The constraint will force creative choices that actually matter on the dancefloor.

DJ test

Export your track and play it in the middle of a DJ set or between two songs in a playlist. See if the energy fits. If the transition sounds awkward, adjust the intro or outro for better DJ compatibility.

Examples to Model

Example 1 hook idea

Chop: Bounce now, bounce now. Lead: I want you bouncing till the sun gets up.

Arrangement idea

• Intro with chopped voice loop
• Build that introduces the bass stab
• First drop with vocal hook and doubled lead
• Short break with single vocal line and filtered bass
• Big final drop with an extra harmony layer

Example 2 hook idea

Chop: Hey hey. Lead: We do this every night so make it loud.

Both examples are simple and repeatable. You can change words and still keep the groove. That is the job of this music style.

FAQ

What tempo should I set for a Melbourne Bounce track

Set your tempo between 125 and 132 BPM. That range balances club energy and a bouncy feel. If you want a slightly harder edge go up a couple BPM. If you want a more loungy bounce drift down a few BPM but do not go so low that the rhythm loses its spring.

Do I need to be a producer to write Melbourne Bounce songs

No. You need basic production awareness. Understand your limitations. Collaborate with a producer if mixing and sound design slow you down. Many songwriters create toplines and vocal chops then hand over stems to a producer for arrangement and final mixing.

What is a vocal chop and how do I make one

A vocal chop is a small slice of recorded voice that you pitch or rearrange into a melodic pattern. Record a short phrase, slice it in your DAW, tune slices to the track key with pitch correction, then place them on a MIDI track to play as an instrument. Use formant shifting to change tone without producing unnatural pitch artifacts.

How do I make the drop sound bigger

Create contrast before the drop by removing elements, automate frequency content with filters, and add a short silence or clap just before the first bass stab. Layer an extra harmonic lead or white noise hit in the second drop to keep it fresh. Also check your arrangement so the energy has time to build.

What plugin settings are useful for the bass stab

Use a short envelope with a sharp attack, medium decay, and low sustain. Add a pitch envelope for a subtle drop in pitch at the start. Use a low pass filter with a small resonance and automate opening during the chorus. Add a mono sub sine underneath and use saturation on the mids only. Keep the sub clean and mono.

Can Melbourne Bounce work with live singers

Yes. Live singers can perform hooks and chants that translate beautifully to festival contexts. Keep vocal parts short and punchy. Use in ear cues so the singer locks timing with the beat. Record the live vocal and chop it later for unique textures.

How do I keep my tracks DJ friendly

Include two bar intros and four bar outros with DJ friendly elements like steady kick and minimal melodic movement. Provide clean instrumental and acapella versions if possible. DJs appreciate tracks that are simple to mix and easy to blend in a live set.

Should I clear samples in Melbourne Bounce

Yes clear samples if you plan to release commercially. Unlicensed samples can get your release taken down and royalties redirected. Recreate the idea yourself if clearance is impossible or expensive.

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