Jump Up Mastery | Next Level Production
NLPNext Level Production Apply for a spot
Jump Up Mastery / Cohort 01

Six weeks to a
release ready
track

Live online with VERSAH, BRIGSY & inmotion. You'll learn all the key Jump UP prod techniques across six sessions and finish with a mastered track that's ready to send out.

174 BPM / Auckland NZ / Online
6Weeks
1.5-2 HRSPer Week
10Producers Max
1Finished Track

Claim a spot

Ten producers per cohort. Apply and we'll come back with the payment options & get you set up.

Fill in the highlighted fields and try again.

Takes 2 minutes / NZ$599 early bird

You're in the queue

The payment options & more info will be coming soon. If nothing lands in 24 hours, email us and we'll chase it.

Why this one is different

Jump up lives or dies on the detail

Jump Up is technical & the skills you need often aren't available to the public. That's why so much bedroom jump up sounds thin, and why another preset pack won't shift it.

01

Your drums don't hit

Layering 6 snares only works if you know HOW to layer. Sample selection is key. Post processing is the last thing you should be reaching for.

02

Your bass has no identity

Following tutorials is great, but what you can't do yet is look at a sound you love and say why it sounds that way. Which is the thing that lets you intentionally create your own sounds & sonic identity.

What you walk away with

A finished record, not another folder of loops

Hard hitting, punchy drums

Sample choice and placement that give a groove real weight, plus the percussion that fills the gaps your kick and snare leave behind.

Bass with identity

Build a sub, a stab, a womp and a Reese from scratch in Serum, and know why each one behaves the way it does.

A mix that translates

Competitive loudness & clarity that still punches on a club rig.

Something worth sending

One finished track, plus guidance on which labels suit your strain and how to write an effective demo email.

The curriculum

Six weeks of sessions

Week 1's drum loop becomes Week 2's groove, then Week 3 and 4's sound design, then Week 5's arrangement, then Week 6's master. Nobody starts from a blank project in Week 5.

WK 01

Drums: the engine of jump up

The four strains, patterns, sample selection, percussion
Four StrainsPatternsSample SelectionPercussion

What we cover

  • Modern, old school, Belgian and dark, with reference listening for each
  • How a pattern changes the perceived weight and speed of a track without touching the BPM
  • Placement, groove and swing, and why quantised to death reads as amateur
  • Choosing and processing drum samples for the strain you're writing in
  • Using percussion to fill the gaps your kick and snare leave behind
HomeworkOne 8 bar drum loop in your chosen strain, then the same samples re-cut in a different strain. Post both and explain what changed.

You'll leave with: a drum loop that carries the weight your track needs, and an ear that tells the four strains apart in seconds.

WK 02

Composition and call and response

Bass roles, stabs, womps, sustains, Reeses, sampling
Call & ResponseBass RolesStabs & WompsSampling

What we cover

  • Call and response, the structural idea the whole genre runs on
  • What makes a good sustain, stab and womp, and where a Reese actually belongs in jump up
  • Giving every bass a job and a frequency band so they stop fighting each other
  • Using vocals, amens and percussion as hooks and transitions
HomeworkWrite an 8 to 16 bar drop over your own drums using a supplied pack of VERSAH sounds. No sound design allowed. The constraint is the lesson.

You'll leave with: a drop that works as a conversation, with every bass doing a job instead of crowding the same space.

WK 03

Sound design pt 1: subs and oscillators

Preset teardowns, sub design, wavetables, oscillator mod
Preset TeardownsSub DesignWavetablesOscillator Mod

What we cover

  • Pulling presets apart across all four strains, asking why does this sound the way it does
  • Following subs against sustained subs, harmonics, and why a pure sine disappears on a phone
  • Wavetables as stacks of harmonics, so you pick one on purpose instead of scrolling
  • Bend, PWM, sync and PD, and which modulation gets you which character
  • Octave and semitone tricks that make a flat sound feel unstable and alive
HomeworkReplace your placeholder sub and at least one other sound in your drop with sounds you designed yourself.

You'll leave with: your own sub sitting in your own drop, and the ability to explain any sound you hear.

WK 04

Sound design pt 2: movement, FX and layering

LFOs, filters, Serum FX, processing order, layering
LFOsFiltersSerum FXLayering

What we cover

  • LFO shapes, and tying modulation to your drum groove instead of fighting it
  • Every filter type, including combs, diffusers and reverb, where a lot of the interesting texture lives
  • Distortion is wave shaping, not volume. Demonstrated level matched so you hear what actually changed
  • Processing order: distortion into filter against filter into distortion, both ways
  • Band splitting, Disperser, OTT, saturation and transient shaping, plus clipping against limiting
  • Layering with intent: sub for weight, body for character, top for bite
HomeworkFinish your main bass, layered and processed, then post it with each layer soloed so the group can hear the anatomy.

You'll leave with: a layered bass that holds up on a big system, which the rest of the track gets built around.

WK 05

Track building and arrangement

Structure, atmosphere, energy, transitions, builds
ArrangementEnergy FlowTransitionsBuilds

What we cover

  • A working arrangement template with bar counts: DJ intro, drop, breakdown, second drop, outro
  • Why the first drop is the one that gets auditioned, so you don't save your best idea
  • Building tension. A drop is only as big as the space in front of it
  • Decreasing energy, which is the skill nobody practises
  • Seeding a familiar element into the build so the drop lands as a payoff
  • Getting five minutes out of three ideas through sound manipulation
HomeworkFull arrangement, start to finish. Rough mix only. It doesn't need to be balanced yet, it needs to be complete.

You'll leave with: a full track from intro to outro that takes the listener somewhere.

WK 06

Mixing and mastering

Low end, mono, loudness, metering, playback night
EQ & CompressionKick + BassMono & WidthMastering

What we cover

  • Mixing jump up as a two element genre. Drums and bass first, everything else supports
  • Surgical sidechain and glue compression, plus how jump up differs from liquid and neuro
  • Kick and bass: phase, ducking, and the five second fix for a low end that's been weak for a week
  • Mono low end and stereo width, and why club systems change the rules
  • Metering with SPAN, YouLean and VISION so you stop mixing with your eyes closed
  • Clipping into a limiter to get loud without losing the punch that made it loud
  • Playback testing on a phone, in a car, on headphones and on a club rig
Final sessionEvery master gets played back to the room and critiqued in order, like a demo night. Then we cover where to send it and how to write the email.

You'll leave with: a competitively loud master that translates from a phone speaker to a club rig.

Your mentor

Taught by someone still releasing

Eric, who records as VERSAH

Eric, who records as VERSAH, is putting jump up out on labels that DJs are pulling from right now. The techniques in this course are the ones behind those records, so you're getting a working method rather than a generic curriculum with a genre label on it.

Releases on

Exert / Alpha Circuit / OneEighty Records / Let Them Cook Records / DeVice (soon)

Supported by

TantronFormulaAC13 T-LexLICIABLKOUTGeorgie Riot
NLP mentors have been supported by Sub Focus / K Motionz / A.M.C / Wilkinson / Kanine
Student reviews

Don't take our word for it

★★★★★

"I left every session feeling more confident and less like I was just pushing buttons and hoping I was right. I genuinely felt like I was learning the secret sauce without having to go through tons of trial and error."

Storm Smith / Auckland NZ / Beginners Program

★★★★★

"This course genuinely feels like it saved me years of trial and error. I not only learned a huge amount but thoroughly enjoyed the experience and felt treated like a peer rather than a beginner."

Brent Robinson / Tauranga NZ / Beginners Program

★★★★★

"The team at NLP should be the first people any aspiring producer calls. After completing the course you'll have the skills and knowledge to jump into a DAW with confidence. This saved me months of trial and error."

Dion Watson / Perth Australia / Beginners Program

Pricing

One cohort, ten spots

Small on purpose. Every week opens with live critique of student work, and that only works if there's time to get to everyone.

Early bird / 5 spots

Jump Up Mastery, Cohort 01

$599$799

NZD / one off payment

  • 6 x 1.5-2 hour live online sessions with VERSAH & some of the NLP team
  • Every session recorded, yours to keep
  • Weekly homework with written mentor feedback
  • Live critique of your work at the top of each session
  • The VERSAH sound pack used in the composition week
  • Private community access with your cohort
  • Demo submission guidance in the final session
Apply for a spot

Cohort 01 starts Sunday 6 September, NZT

Payment plan

Want to split it? Two payments, no extra cost. Mention it when you apply and we'll send the link.

Miss a week?

Every session is recorded and posted the same day, and you'll still get written feedback on your homework.

Already in mentorship?

Starter, Pro and Elite members get a discount on cohort programmes. Get in touch before you apply and we'll sort the code.

FAQ

The questions we get asked

Do I need Serum?
The sound design weeks are taught in Serum 2, so it's strongly recommended. The concepts carry over to Vital or Phase Plant, but you'll be translating on the fly rather than following along.
What if I can't make a live session?
Every session is recorded and posted the same day, and you still get written feedback on your homework in the community. Try to make them live though, because the critique at the top of each session is where a lot of the value sits.
How much time should I set aside?
Two hours live plus roughly three to four hours on the homework each week. The homework is cumulative, so skipping a week costs you more than the week itself.
Is this beginner friendly?
No, and that's deliberate. You should already be comfortable in your DAW and able to build a basic arrangement. If you're starting from zero, our 6 Week Beginners Program is the right door.
Will I actually finish a track?
If you do the homework, yes. Each week's task becomes the next week's starting material, so by Week 6 you're mastering something you've been building for five weeks.
What happens after the six weeks?
You keep the recordings and the community. The final session covers where to send your track, which labels suit which strain, and how to write a demo email that gets opened. If you want to keep going one on one, the mentorship tiers pick up from there.