Bass Matrix


BASS MATRIX is THE exciting bass book on “GROOVE DESIGN” and has established itself as a bestseller since its release at the end of 2023,particularly in the German-speaking region. The book comprises 296 pages and more than 400 audio examples – abundant material for a workshop. Participants learn intuitive bass tools and a bass language based on groupings. This enables them to build their own bass repertoire, developing powerful and creative basslines, bass-and-drum parts, and solos in any groove situation – both in 4/4 and Oddmeter. A flexible bass language allowing intuitive expression in any groove situation. BassMatrix is an exciting journey through all essential 4/4 and Oddmeter groupings. From this perspective, many well-known grooves are explored, resulting in exciting creative surprises and aha moments.

I’ve already conducted Bass Matrix workshops at various events including the Dresden Drum&Bass Festival, the Guitar Summit Mannheim, as well as at Thomann, Musikproduktiv, and Session, and the feedback has been consistently positive and enthusiastic. The workshop is complemented by solo pieces of my own creation (using loops and Ableton), and depending on the event, it can be presented in a lecture format or as a masterclass where participants have instruments. The length, depth, and concert portion are all customizable according to individual needs.

Bass Matrix fosters creativity, groove, timing, and articulation while expanding rhythmic awareness. It inspires everyone, regardless of their stylistic background or skill level, and brings about immediate improvements. It can be applied equally well for groove and solos, and on both straight and odd meters. Bass Matrix revs up the bass engine, enriching the groove and opening new creative doors in the mind.

At the Groove Matrix workshops, in collaboration with drummer Ralf Gustke, we expand the Bass Matrix concept to encompass both bass and drums. We’ve already been guests at events such as the Regensburg Drumweekend and the Dresden Drum&Bass Festival. More information about the Drum&Bass workshop can be found below.

The fundamental concept of Bass Matrix is this: Every bassline and rhythm is based on a sequence of groups. This “grouping” forms the rhythmic foundation and is filled with notes according to the bass style. With this approach, you can play stylishly, serve the song, and be creative in any groove situation. Because you’re not just memorizing riffs; you’re building your own repertoire of grooves and fills that you can flexibly apply in any rhythm and time signature. And when you analyze well-known grooves from this perspective, you’ll discover some exciting creative surprises and aha moments. Similar to the structure of the book, the workshop covers modules on topics such as getting into the groove, groove design, bass-and-drum patterns, tonal flexibility, fill-ins, and groove transformations. More detailed information can be found below.

Sneak Peek into the book:

Feel free to check out the videos here to get an insight into BassMatrix. They feature excerpts of music and application examples from the book, accompanied by animated graphics and also some performances.

Philipp Rehm was named “Germany’s Superbass Player” by the bass magazine ‘BassProfessor’ in 2004. He has played with many renowned artists in pop, rock and jazz and has been a well-known name in the European bass scene as a solo musician for quite a long time, regularly appearing at major bass events. For more information, videos, and music by Philipp Rehm, go to ABOUT THE AUTHOR.

Book review on BONEDO
Artist feature on BONEDO

The workshop is enhanced with solo pieces of my own creation, ensuring the audience gets the full bass experience. I have a 2-set solo concert program with live electronics, from which I perform selected pieces depending on the workshop’s duration to round out the event in a concert-like manner. My material, drawn from a variety of releases, showcases all aspects of the bass, from fat basslines and wild grooves to percussive improvisations and crystalline melodies. You can find press reviews and more information here under ABOUT THE AUTHOR. Bei einigen Stücken stelle ich auch kurz die jeweilige Grouping-Basis vor. For some pieces, I also briefly introduce the respective grouping basis. If there’s interest, we can delve deeper into individual pieces. Additionally, a separate concert section is possible.

Groove Matrix

Bass- and Drum-Workshops

At the Groove Matrix workshops, in collaboration with drummer Ralf Gustke, we expand the Bass Matrix concept to encompass both bass and drums. Once again, the starting point is a grouping, into which kick and snare are set as key points for the drumbeat, forming the basis for the bassline and further development. The workshop material is based on the Bass-Drum Groove Atlas from the book, featuring hundreds of groove examples from all styles and meters. Through years of duo live projects and shared bands, we have an endless wealth of examples and concert pieces. Instrument-specific aspects can be addressed according to preferences and the situation on-site.

Ralf Gustke is one of Germany’s top drummers. He has worked with giants like Chaka Khan, Schiller, Gianna Nanini, Barclay James Harvest, Söhne Mannheims, and Klaus Lage, and is a sought-after clinic and solo drummer. Together, we are regular guests at well-known drum and bass events such as the Dresden Drum&Bass Festival, Guitar Summit Mannheim, Drumweekend Regensburg, or the Drumdays Paderborn, and have also produced online lessons for Onlinelessons.TV and

Bass Matrix


Here’s a brief overview of the Bass Matrix workshop structure. If you’re interested, I can send you a more detailed workshop concept. Feel free to contact us at

Getting into the groove:
First, we focus on getting into a given grouping: clapping and counting (Konnakol) as well as bass presets for groups of 2, 3, and 4, which are then used according to the grouping. This method is applicable to any grouping, whether straight (e.g., 44332) or odd (e.g., 334). This creates initial basslines.

Similarly, we expand the “vocabulary” of these bass presets. This process makes the resulting basslines more diverse, and we also touch upon numerous familiar song examples along the way.

Drum beats are also based on groupings, whether in 4/4 or Oddmeter. Kick and snare are placed within these groups, and these kick-snare accentuations serve as the main points of connection when developing a bassline. After getting into the groove with the corresponding grouping, we follow a standardized method that allows for the development of basslines to any drumbeat, revealing countless familiar bass and drum grooves:
1. Snare Check: Leave space for the snare or play through
2. Note duration: Let ‘em ring or cut ‘em short
3. Getting busier: Adding more intermediate notes in the bass
4. Bring in the calm: Rests or sustained notes
5. Create clarity: Straighten things out
6. Amp up the motion: A more syncopated grouping in the bass
Finally, the drum pattern is also further varied: additional intermediate strokes can be added or the sequence of kick and snare in the grouping can be altered. All of this is underscored by hundreds of well-known song examples. This approach is also interesting for advanced or jazz-oriented players as it provides solid inspiration for developing effective basslines.

Fretboard diagrams:
In Toolbox 4 of the book, all essential fretboard diagrams, scales, and their specific sounds for developing basslines are covered, including song examples. The basslines are now represented in interval numbers in matrix notation, allowing for application in any key. Over 20 fretboard diagrams are discussed, including many practical but often overlooked variations of pentatonic and blues scales. For each fingering pattern, there are numerous song examples and exercises to use them flexibly. Additionally, basslines are analyzed to understand their interval numbers. This allows them to be integrated tonally versatile into one’s own bass vocabulary. All of this enhances musicality and proficiency.

In the “Fill-ins” segment, participants learn to use a vast repertoire of fill-ins tonally flexibly in all groove situations – essentially having a personal repertoire of signature fill-ins ready to go in all groove and time signatures. To ensure they are tastefully and tightly embedded in the groove, they are rolled up “from behind” and cycles are also practiced. To make the fill ins available in all keys, they are also represented in interval numbers.

Here, a bass style is transferred into different groove situations. A set different groove styles like rock, funk, fusion, jazz, and Latin riffs are initially played in 4/4 and then transferred into 5/4, 7/4, 9/4, 11/4, and so on.

This workshop works both in lecture format and with an audience with instruments – individual passages are then made more detailed. When working on a grouping, for example, a workshop participant can continue grooving after going through the groove levels and develop their own ideas. You can also spontaneously switch to a jam if things are going well. Further interaction options are, for example:
• Audience song suggestions: Determining the grouping, working on it, and getting into the groove together.
• Audience grouping suggestions: Collaboratively getting into the groove.
• Audience grouping suggestions: Spontaneously programming a beat to it, then progressing through the six bass groove levels described above.
-Transformation: Someone suggests a bassline, and then groupings are called into which this bassline is transferred.
• The drum-bass segment naturally offers opportunities for integration of drummers and bassists alike.