Bigchoc has been busy,  so far this year he has released an album a month (through his label ESAF Records) – a testament to his relentless creativity and dedication to the craft! A boundary-pushing producer, DJ, and sound system specialist, Bigchoc is all about hardware-driven, left-field sonic exploration. Never one to follow trends, he’s forging his own path in the Drum & Bass scene, staying true to his raw and innovative sound. He has been part of our community here in Brum since way back when we were hosting our showcases at the legendary Club PST in Digbeth – continuing on the path, his sound has been developing and Bigchoc now is carving his own in space into Drum & Bass!

Self-taught and shaped by trial and error, his DIY approach has led to a deeply personal and refined sound. Since founding ESAF Records in 2018, he’s dropped 17 releases, plus projects on Fokuz Records & Sub Wavelength Recordings.

 

Want to know more about his journey, influences, and what’s next? Check out our Q&A with Bigchoc below!

Introduce yourself – who are you and how would you describe your music?

Yo….
First off, big thanks for the interview – I truly appreciate the opportunity. Some call me Ant, and many know me as Noble, but in the world of music, I go by Bigchoc. I represent the UK’s West Midlands. Drum & Bass is my foundation, but that’s a broad term. My sound leans toward loungecore and soulful liquid with a classical touch. That said, I also love dark steamrollers and experimental concepts. The generic, commercial side of DnB? That does nothing for me. Oh, and did I mention my love for Jungle? I see my music as art – if it doesn’t carry emotion, it’s just another track. When writing, I tend to favour MIDI over sampling… or at least, I used to. But we’ll get into that as we dive deeper into your questions.

How did you get started with music production?

Once upon a time in Bloxwich, a man and his crew rolled up to the Electric Palace youth center – now a Wetherspoons – for a music workshop. They introduced us to Reason 1, and I remember seeing the Redrum sequencer on the screen. It was a virtual rack of analog-style gear, all made of pixels inside an old IBM or Hewlett-Packard monitor. That was it – I was hooked. I went home, jumped on dial-up internet, found a torrent for Reason, burned it to a disc, and installed it with its oversized factory sound library. That was my first dive into a DAW. 

Funny enough, I might never have gone deeper if it weren’t for skating. I had a friend up the road, and after long skate sessions, we’d end up in his loft-  blazing and messing around with Fruity Loops. I remember staring at its backward-looking menus, endless dropdowns, and chaotic synths like Sytrus, completely overwhelmed. Everything felt alien, from the weird reverb presets to those tiny MIDI blocks.

But my friend was all about liquid DnB, and over time, that sound sank into me. Those smooth, rolling vibes shaped the way I heard and created music. 

What would you say are your main influences – musically or otherwise?

Mood. Vibe. Energy.!

If I’m not feeling the vibe, I have no energy. Simple as that. It used to be a bottle of Wray & Nephew. That stuff can shift a man’s mood real quick – fuel for spontaneity, the kind of spirit that unchains creativity. But I haven’t gone down that road in a while—too expensive for a studio session, and if I’m being real, it’s a shortcut. A crutch. That raw creative energy? That needs to come from within.

I was reminded of its magic, though, a few years back at Ronnie Scott’s. Courtney Pine was on stage, just unloading on the sax, completely possessed by the music. At the break, he said something that stuck with me: “We don’t care about treble clefs and quarter notes. The music is made from rum. That’s how we create, and that’s why it resonates.” That hit home. I used to write like that – pure instinct, pure vibe, no second-guessing, no overthinking. That’s when the music flows the best. The second you start calculating too much, you strip the life out of it. And I’ve been there before. 

The Right Time to Move Forward! 

I don’t struggle to start something new. That’s never been my problem. It’s just not the right time. Because there’s unfinished business. I’ve got so many ideas, so many projects that need closure before I can fully open up space for something fresh. Call it clearing my creative conscience – tidying up the unfinished so I can move freely into the next phase. It’s like carrying weight – you can only hold so much before it slows you down. And I’m at that stage where I need to let go of the past work, give it to the world, and make room for the new. That’s the biggest thing influencing me right now – the ambition to get my old music out so I can start fresh. It sounds simple, but it’s not. Because every track carries a part of your journey, and you want to send it off the right way. I’m mixing, refining, pushing them to their full potential, and then? Out they go. Because what’s the point of hoarding music? Tracks aren’t meant to sit on a hard drive gathering dust. They’re meant to be played, heard, felt.

Influence & The Unexpected Spark!

Networking has been a massive influence, too. Not just in terms of meeting people, but in how the right collabs can push a track in a direction you never expected. There’s something about throwing a track at someone and letting them bring their own energy into it. You might think a tune is complete, then suddenly, a feature flips the whole thing on its head, takes it somewhere you never imagined. That’s the kind of thing that keeps the process exciting.

It’s also a reminder that music isn’t just about you. It’s about the people who hear it, the people who connect with it, the people it finds. You can overthink how people will receive a tune, but at the end of the day, the right tracks will find the right ears. That belief alone can influence your next move, your next direction.

Jazz, Drums & The Art of Reinterpretation!

Jazz has always been my go-to for inspiration. Not just in terms of ideas, samples, or theory, but in its whole approach to music – its freedom, its unpredictability. I’m not big on remixing commercial music – most of the time, it feels forced. Watered down. Too clean. Unless it’s a Makoto remix of Michael Jackson, I’m usually not interested. But when a remix is done properly – like the way Metalheadz reworked their catalog—it doesn’t just feel like a remix. It feels like an extension of the original. A new chapter rather than a cheap retread. That’s the kind of integrity I respect.  And jazz itself? It was built on reinterpretation. That’s why flipping jazz samples feels so natural. It’s not just about grabbing a loop – it’s about continuing a conversation that started decades ago. That said, I’m open to sampling anything if it sparks something. Genres don’t matter. Feeling does. 

But jazz is always where my heart leans.Beyond music, rollerblading was a massive influence. That whole era introduced me to so many different cultures, styles, and sounds. It wasn’t just skating – it was filming, editing, digging for the right music to fit a part, designing graphics, documenting a movement. It built an appreciation for aesthetics, for raw energy, for unfiltered expression. Now? It’s all about the drums. A slapping drum break is all the inspiration I need. Once I get that right, the rest follows. That’s where everything starts. From there, it can go anywhere – liquid, jungle, halftime, experimental. But the drums lead the way.

The Balance Between Refinement & Instinct

Lately, I’ve been in a space of refinement. Honing my FX chains, finding the right saturation, the right balance, the right textures. Dialing in, dialing out, simplifying. I tend to overcomplicate things sometimes, and that can slow me down. So right now, inspiration is about balance – chasing a refined sound while keeping things effortless. Because when you strip everything back, at the core of it all, music is supposed to feel natural.And that’s the space I’m in now – trusting the process, finishing what needs to be finished, and keeping that energy moving forward.

The Underdog’s Sound Finally Coming to Light

For years, I was building in the background. Carving out my sound. Refining the vision. Knowing that when the time was right, the music would find its moment. Now? That moment is here. The sound of the underdog – the deep cuts, the overlooked gems, the raw and authentic energy – is finally stepping into the light. People are catching on. The music is moving, reaching the right ears. And that’s just the beginning.

Production Workflow – Sound, Process & Evolution

For years, Reason was my home – my creative sanctuary. Every sound, every mix, every process lived inside that world. Its rackmount interface shaped how I approached production, making everything feel like I was working with physical gear inside my screen. Every wire, every patch, every knob twist – deeply intentional. 

But on July 26, 2023, something shifted. Not just my software, but my mindset. The way I was working had become too familiar, too automatic – like muscle memory with no friction. And friction is where creativity thrives. I needed to break the cycle, challenge myself, push my sound forward. Now, I’m integrating Logic into my workflow – not as a replacement, but as an expansion. The biggest difference? How I interact with sound. Logic’s MIDI capture has been a revelation – letting me retrieve ideas I played but didn’t record. Some moments in music can’t be recreated, and this feature lets me hold onto them before they disappear into the ether. The open-ended approach to VSTs and modulation has also changed how I shape movement within my mixes. But even with these shifts, my hardware remains the backbone of my sound.

Signature Instruments & Hardware

MatrixBrute – The Heartbeat

Since I got my MatrixBrute, it’s been in every track. The basslines, the textures, the movement – it’s alive in a way digital synths just aren’t. It growls, it sings, it breathes. I’ve stored and tweaked so many presets that sometimes I lose track of my best ones, but that’s part of the magic – its unpredictability keeps things raw and dynamic.

Novation Station – Digital Contrast

Jacob’s Novation Station brings a completely different feel – polyphonic, digital, clean, where the MatrixBrute is paraphonic, raw, commanding. The contrast between the two gives my tracks a unique character—organic yet futuristic, structured yet evolving.

I’m not classically trained, but I play by feel. I let my hands find the notes that resonate rather than following theory too rigidly. Lately, though, I’ve been breaking my own habits, stripping things back, chasing clarity – not just in sound, but in purpose.

The Processing Chain – Sculpting My Sound

I’ve built and refined my processing chain over time, shaping my low end, my transients, my overall tonal balance. Here are some essentials:

Low End & Sub Processing

• G500 on my Sub – Always. It’s the foundation of my low end, shaping the weight and depth without overpowering.
• RX950 AD/DA – Those filter switches add a richness to my chords and keys that digital alone can’t replicate.

Drum Processing – Impact & Character

• UAD API 2500 – I barely touch the gain, just a small amount mixed in for that punchy glue.
• Looptrotter SA2RATE – Adds subtle but vital harmonic saturation.
• Soothe – Cleans up harshness while keeping the natural feel intact.
• ST4B Multiband Tranny – Ridiculously good for multi-band transient shaping.
• SSL Channel Strips – I swear by these. The dynamics, the filters – it just feels right. Nothing beats the flow of working on an SSL strip.

Harmonic Enhancement & Tone Sculpting

• Arturia Culture Vulture – A distortion beast. It goes way beyond just drums – it finds its way into bass, leads, even textures.
• SSL DYNEQ 2 – For mud removal and 2k brightness, it moves in a way Izotope’s Dynamic EQ never could.

I know a lot of people are probably already using these tools, but it’s not just about the gear – it’s about how you use it.

The Live Feel – Capturing Energy in a Digital World

One thing that’s always been present in my sound – whether intentional or not—is a live feel. Even when elements are programmed, sequenced, tightened up, there’s always an energy, a presence, a sense that the music is happening in real-time, right in front of you. Maybe it’s my approach to dynamics, maybe it’s something subconscious, but it’s there. And now? I’m working on refining that energy – understanding it, shaping it, evolving it into something even more immersive. Music isn’t just about filling space – it’s about creating a moment. That’s the space I’m in now.

What do you do when you’ve lost your musical mojo?

What don’t I do? First, I sit in it. I get frustrated. I question everything. I go through that cycle of self-doubt, of feeling disconnected from the music. Then I eat. Then I repeat the process. Most of the time, creative droughts come from two things: either being overwhelmed by life, or simply not caring enough in the moment. When I don’t feel it, I don’t force it. Instead, I watch tutorials—not to learn, but to get annoyed at myself for not creating. That frustration fuels something. If that doesn’t work, I turn to film. But it has to be a good film—one that grips me visually and sonically. Watching something empty, something without depth, feels like listening to a track with no soul. I can’t force myself to engage with things that don’t move me.

Being involved in music beyond just production—working as a sound technician—also brings another layer to it. When you’re around sound constantly, it can drain you. Especially when it’s music that feels soulless, mass-produced, designed for quick consumption. A lot of what’s pushed in today’s mainstream lacks depth. It’s like watching a once-thriving underground scene get repackaged into something disposable. That fatigue can make me step away for a while. But stepping away is often the reset I need.

What are your favorite and least favorite BPMs to work at?

Least favourite? 177+ BPM. It’s too fast, too rigid. The space between the beats is too tight for the kind of groove I like to create. It loses its funk, its depth. My comfort zone sits between 165-175 BPM. That’s where I find the balance – where there’s enough space to move, to breathe, to layer. If I go slower, it’s usually halftime, ambient, something more cinematic.

When I’m working on the Polyend Tracker, though, BPM feels secondary. The tracker’s workflow isn’t linear – it’s about sculpting sound, about building something gradually rather than laying things out in a traditional arrangement. It forces me to think differently, to step outside my usual patterns. And sometimes, that’s exactly what I need.

 

When you make music, where do you start?

It starts in the kitchen. The ritual. The preparation before the process.
Tea on, vape in hand. No rush, just easing into the space. If the milk’s low, it’s Ribena – hot or cold, depending on the mood. It’s about setting the mind right before diving in.

Then, the DAW opens. Blank slate. No expectations. Just a template – track lanes waiting to be filled. No clutter, no pre-made paths. Just possibilities.

My approach to sound-searching has evolved. The browser inside a DAW never quite did it for me, so Samplism became my window into a deeper, more efficient way of finding textures. Drum breaks, fragments of something forgotten, bits of audio that hold the right kind of weight. Speed matters when you’re chasing a feeling.

Once I have a direction, it’s one of five paths:

1. Break creation – Layering kicks, snares, raw transients. Building something with its own gravity.
2. Chords & Ambiance – Metro locked, fingers searching for something that resonates.
3. MatrixBrute Bass Exploration – Pushing the sound to the edge of destruction, then pulling it back just before it snaps.
4. Sampling & Manipulation – Dropping a found sound into PhasePlant or Mimic and letting it dictate the next move.
5. Arpeggios & Sequences – Scanning my synth patches for a thread to pull, an idea to unravel.

Or sometimes, I sync up the Polyend Tracker+ and send MIDI out, let it breathe into external hardware, and see where it leads.

One thing I’ve learned: it almost always starts with a synth. Searching for the right piano inside a DAW is a process that’s become tedious, and uninspiring. There’s a disconnect there. Hands-on hardware, shaping sound in real-time – that’s where the soul is. VSTs are fine for processing, but for the raw source? Control at my fingertips beats anything in the box.

Now, I’m about to explore something new: pulling stems from unfinished projects, chopping them, and using them as new starting points. Until recently, I resisted committing to audio – I lived in MIDI. MIDI was infinite, reversible, non-destructive. But it also kept me trapped in a cycle of tweaking rather than committing. Reason felt limiting in that way. But now, with Logic in rotation, I’m seeing things differently. It’s a shift. A new chapter. Let’s leave it there for now…

If you could go back to when you first started and offer your former self one piece of advice, what would it be?

Learn clippers early. Understand dynamics sooner.

I used to make music without a care in the world for how it sounded. I was driven by feeling, by impulse. There was no thought of professionalism, just raw creativity. In some ways, that was a gift. But knowing what I know now, I see how much further I could have been if I had understood the weight of my sounds – how to shape them, how to give them impact without drowning them in unnecessary processing.

When I started on Reason, the internet wasn’t what it is now. No fiber-optic speed, no endless libraries of tutorials. It was all self-taught behavior, trial and error, making sense of things without guidance. Today, masterclasses, production breakdowns, and engineering deep dives are at your fingertips. If you have access to knowledge, use it. There’s no glory in struggling through something alone if the answers are right there waiting.

Can you tell us one thing you really appreciate about the Birmingham music scene and one thing you think could be improved?

I’ve always believed Listening Sessions should have a podcast. A space where we can tune in, hear discussions, showcase mini-mixes, and build something that extends beyond the physical meetups. There’s so much knowledge, so many stories, and they deserve a platform beyond the room.

As for improvements?

The underground needs bigger stages. Not just in spirit – physically. We need larger venues backing new, uncharted music. Too often, fresh talent is confined to small rooms, while the same familiar names cycle through the bigger spaces. It’s time to break that pattern. New sounds deserve large-capacity audiences. The crowd needs to be exposed to more than just the expected. They need to experience something that shifts their perception. And above all- the bass bins need to slap!!!

Another thing I want to see more of: is collaborative promoter nights. Right now, it feels like every promoter stays within their own circle – supporting their own roster, their own label, their own ecosystem. But real growth happens when different communities intersect. Imagine two crews from different network trees, merging for one night, cross-pollinating sounds, and expanding their reach. It’s rare. Maybe I’m wrong, maybe I’m right. But it needs to happen more.

When you’re not making music, what other interests and hobbies do you have?

Films. Soundtracking moments. Listening.

Movies aren’t just downtime – they’re sample vaults. A single frame can hold a buried texture waiting to be lifted. Before my Tascam screen died, I was always snatching sounds – an FX burst, a chord sneaking past the dialogue, a melody left floating in the mix. Now? I’ve adapted. Google extensions got some slick tools for grabbing audio. It’s all about staying resourceful.

Beyond that, I stay locked into learning. The algorithm feeds me obscure production techniques, lost engineering wisdom, tricks from the golden era of music. Not everything sticks, but some of it sparks something. And that’s enough.

And then there’s work. Which is basically being in the studio – but live.

Do you feel Listening Sessions has helped you progress as an individual artist?

No doubt!

Back in the Chameleon Studio days, I was hitting LS every month, soaking it all in. I remember sitting there, hearing different artists and thinking: how are these people not signed? The range, the quality, the individuality – it was mad inspiring.

The biggest wake-up call? Hearing my own music on a proper PA. There’s no hiding behind headphones at greater SPL. You hear the mud, the overcooked highs, the missing breathing space. It forces you to refine.

But LS wasn’t just about self-correction – it was a network. It’s one thing to have people recognize your sound. It’s another to exchange ideas that push your skills forward.

One of the standout moments for me was when Terpz remixed my first-ever BigChoc release from 2017. That track is mental. Brought something fresh to ESAF and reminded me why collaboration is essential. Josh is an incredible producer.

LS’s 10-year anniversary was another game-changer. I dusted off a pile of dubs, gave them all a final mix & clip, and let them run. That session alone unlocked 30 unreleased dubs – some have dropped, others got vocals. That single night sparked a massive wave of productivity, setting the tone for the year ahead.

Lately, I’ve been missing LS. Tuesdays were a write-off – work locked me down. But since it moved to Thursdays? I’ve got a chance to step back in. And trust me, I’ve got a lot of new stuff to test out.

LS isn’t just an event; it’s been a development lab. Relevance, techniques, critical listening, sharing skills – it all feeds into the craft. Even confidence in my music has shifted. You don’t even clock it at first, but it’s shaping you.

Which other Listening Sessions producers are you feeling at the minute?

At the last LS, something shifted. New heads, fresh styles, sounds I wasn’t expecting.
One producer who really stood out? Terpz. His sound design is elite. The man knows his frequencies. Dark, intricate, heavy. If there’s a label made for him, it’s Critical Music.

Not to take anything away from the rest – LS is stacked with hidden gems. But when it comes to mixdown and LUFS, Terpz is next level.

That being said, I’ve been in a tunnel vision mode – head down, locked into my own work. There will be a time when I can fully tune in, properly listen to other artists again. Right now, I’m on a mission. I’m trying not to compare my music to others too much—it’s a habit that can limit belief.

But April? I’ll be back at LS, locked in, ready to absorb it all. Been off my feet since December, so now that I can walk, work, and create, it’s time to step back into the Listening Sessions energy. 2025 is shaping up to be a big year – for LS, for the underground, and for me.

Where can we hear more of your music & do you have any upcoming releases, events, or other stuff you’d like to promote?

First up “Justin Case” dropped on New Year’s Day. Pure liquid vibes front to back. Smooth, deep, and rolling. “Chi” has been getting rinsed left, right, and center – proper love from the scene. Even landed a BBC radio play on January 8th. Mad.

Then came “Digital Spinach” in mid-February—strictly jungle and aggy energy. Heavyweight breaks, no-nonsense basslines. Didn’t expect the reaction it got, but Ray Keith shut that doubt down real quick. Three tracks in one show on Dreadcast? Say no more. Proper humbled by the response. But it’s only February… more fire loading.

Currently plotting my next move – got a batch of liquid tracks on deck for the next release… whoops, said too much already.

Beyond that? It’s all about bookings and dropping a ton of music this year. No half-measures – all or nothing. I’m coming for heavy exposure, more sets, more reach. 

I’m focused on pushing my liquid and jungle sound while still delivering classic vibes and deep, journey-driven sets. It’s been a minute since I’ve done a proper journey set – been locked in on my own material – but when the time comes, trust me, I’m bringing something special.

And, not to forget Centro – my third release, dropping late March 2025. This one’s full of personal favourites, a true album to sit with and experience again and again.

Also, big up Dubzy for having me on The Onward Show. 

I did a guest mix on February 27 over at Bassdrive.com. The 6o min mix is packed with my latest releases and upcoming dubs. It will be up on my SoundCloud soon. Stay locked.

Looking to push my liquid & jungle sound while still shelling down classic vibes and deep journey sets. Haven’t done a proper journey set in a minute, been locked in on my own material. But trust, when it’s time, I’m bringing something special.

 

Everything Bigchoc:  https://linktr.ee/bigchoc_music

Album Out Now – https://tr.ee/Bigchoc_Digital_Spinach

Audius – https://audius.co/bigchoc_music/album…

Bandcamp – https://bigchoc.bandcamp.com/

Follow Bigchoc:

 Instagram – / bigchoc_music  

 Soundcloud – / bigchoc