Bitwig Grid Ambient Patching and Generative Workflow

[00:00:00] So on my second channel, I usually just show these grid patches, you know, let them play
[00:00:05] and for 10 minutes, one hour and people usually just ask me, how do you build these patches?
[00:00:12] And it's not interesting for the majority of people, so it's not a video for my main
[00:00:16] channel and it also doesn't fit on the music channel where I just let the music play.
[00:00:22] So I thought maybe I create another channel, another new polarity channel and just document
[00:00:29] these kind of buildings or these processes where I build these grid patches and maybe
[00:00:37] just talk over it and give you some insights.
[00:00:41] So it's probably a long video.
[00:00:42] It's not interesting for the majority of people, but some people are interested in it.
[00:00:46] So I don't think this channel will gonna fly, which is not my intention at all, but you
[00:00:53] know, just for the process and people can watch it and I link it in the main channel
[00:00:57] on the music channel under the videos then.
[00:01:01] So maybe let's document this and let's start by creating a grid patch and I probably want
[00:01:07] to create an ambient patch.
[00:01:09] So I usually go for 85 BPM for whatever reason, it's not really needed, but that's how I do
[00:01:15] it.
[00:01:16] Okay, so then we don't need here the clip launcher, I make this here a bit longer so I can let
[00:01:22] it loop like this, I probably dial in here EB minor because I like it.
[00:01:33] And then we use a pulley grid.
[00:01:36] And the most important part is that this polar grid is in monophonic mode so we can change
[00:01:41] the voices and we pull this down the mono.
[00:01:45] Because if this is in polyphonic mode here with five voices, we have to press a key to
[00:01:52] activate at least one voice, which is not what we want, we want to have at least one
[00:01:56] voice always active, which is the case in mono.
[00:02:00] And then we can build here something in the grid and it just runs.
[00:02:04] So you don't need to press a key or you know, need anything to activate one voice.
[00:02:10] So we don't need this and the question is always how do I start, right?
[00:02:16] So do I start with oscillators with melodies with pads with noises and for me, it's always
[00:02:25] different.
[00:02:26] I always start differently and a good way sometimes is to just use samples.
[00:02:32] So I create samples sometimes outside of the grid, put it into a sampler and then use the
[00:02:37] granular mode and scan through the sample for for a long, long time and then put something
[00:02:45] on top.
[00:02:46] So this is sometimes an idea.
[00:02:48] Sometimes I just start with noise.
[00:02:52] Maybe I put the limiter here at the end, something like this, pull this down, maybe five dB.
[00:03:01] I hope it's not too quiet.
[00:03:03] So we can hook this up here, right, and then we have immediately a sound and I go for pink
[00:03:10] noise and I want to use it in stereo.
[00:03:13] So the left and the right channel has a different noise generator or generates different noise
[00:03:17] sounds, which is really cool.
[00:03:19] It sounds cool.
[00:03:24] Maybe use an amp here also on that so we can change the loudness.
[00:03:28] So now that we have this, we probably want to filter out some of the noise to make it
[00:03:34] more like sound like rain or real life, real life noise or real life sound.
[00:03:43] So you can do this multiple ways.
[00:03:44] For instance, we can use a low pass on this noise, right, pull us all the way down.
[00:03:50] Now it's filtered already.
[00:03:53] And with this, we can then modulate for instance, or we can use the output of this to multiply
[00:04:01] this with the output of that, it's just changing the volume as we can do something like that.
[00:04:07] And then it sounds like this.
[00:04:14] So maybe we can also high pass this a bit more like that.
[00:04:30] And then we can use another low pass.
[00:04:32] I don't know if this makes any sense, but sometimes I really like to do this and figure
[00:04:37] out if I can just make something great sounding with some simple patches.
[00:04:44] And then we multiply this again, like this.
[00:05:08] Or maybe like that.
[00:05:13] I think that's better.
[00:05:19] So we get already sound or a bit of noise out of nowhere, out of something just with
[00:05:26] the process here.
[00:05:29] So we can keep this maybe for a backdrop.
[00:05:35] Can also take this and use a filter.
[00:05:38] Let's use the selling key filter because it has a very steep filter here.
[00:05:45] Bandpass 8p, for whatever reason, so we can feed the sound into that.
[00:05:51] It's a bit too quiet, huh?
[00:06:04] So this is kind of nice, so it has a tonality to it.
[00:06:07] But then we can use the output for that maybe and just try to modulate the pitch, the frequency.
[00:06:23] And then you get some water sounds, maybe this one.
[00:06:45] Yeah, I like this better.
[00:07:04] I'll start with some experiments here.
[00:07:13] Maybe we just leave that for now.
[00:07:18] Maybe I delete this later on.
[00:07:19] I have no idea.
[00:07:20] Maybe I just keep it.
[00:07:23] So there we can start.
[00:07:24] Maybe we need to bring in some harmonics.
[00:07:27] So we can use maybe a sign with that.
[00:07:33] And I could use an A/D, an output, also keep it very simple, maybe let's use a trigger
[00:07:46] here.
[00:07:47] So four triggers for each phase.
[00:07:49] One phase is exactly one bar long, so four triggers within one bar.
[00:07:55] We can trigger this here.
[00:07:58] And then we can say on each trigger, give me a random number between plus one and minus
[00:08:06] one.
[00:08:07] So here the negative part is also active, so it's bipolar, and then we get a random
[00:08:11] output, maybe I put here an amp already there.
[00:08:29] So this is pretty random.
[00:08:31] So what I want to do is I want to constrain the range, and I do this usually by using
[00:08:37] an attenuate here, putting this here.
[00:08:39] I can pull this down, you can pull this down, but then the whole pitch mapping is off.
[00:08:45] So what I do usually is I do this, and then I put here in between, let's say a quantizer
[00:08:55] like that, and I use C major.
[00:08:59] So all the white keys here as a reference, and so I only want to have the root note,
[00:09:04] and this is here, 1, 2, 3, 4, 5, 6, 7, I probably want to have this and that.
[00:09:16] So this is the fourth, this is the fifth, and yeah, we have some quantization here happening,
[00:09:22] and because this is 100% or 120 semitones, the pitch mapping is not off.
[00:09:28] So you always hit the fifth or the fourth, I put this down here for a moment, so you
[00:09:38] always hit the fifth, fourth, and the root of C major, which is not what we use here,
[00:09:44] we use EB minor, so what I do then is I use root, which is a new module, gives me the root,
[00:09:53] it's D sharp, it's EB, basically it's the same thing.
[00:09:56] And I add this here to the C scale, so the C scale starts on 0, and then I add here this
[00:10:07] D sharp to it, so I'm offsetting the C scale to the scale we are currently using, which
[00:10:13] is here D sharp 3, which is on the keyboard, it's 3 semitones higher, so we pitch this
[00:10:18] up by 3 semitones.
[00:10:21] So I play here on C major, and then I push it up or add 3 semitones to it because we
[00:10:30] are on D sharp 3 here, 3 semitones up and then it's on the right scale, right, so now
[00:10:36] we play here in D sharp major, it's actually not major or minor because I just use the
[00:10:42] root and the fifth and the fourth, I need to use here the third to make it actually minor
[00:10:48] or major, now it's either one of both or neither, okay.
[00:11:00] So now we are basically in EB minor, I would say.
[00:11:16] Okay so the thing is I don't want to create a melody, I actually want to create a pad,
[00:11:22] one of the pad, I want to create a drone with multiple notes in it, so instead of making
[00:11:29] here the sine partial play longer notes, what I usually do is I just play this into reverb
[00:11:38] and you can create reverb here with all paths, that's usually what I do, and maybe we go
[00:11:47] here into that, and what I want to do is I want to use here my website, all paths reverb
[00:11:53] calculator I use usually then Schimmer and then maybe 10 modules, I change the seed here
[00:12:01] until I like how this looks like, start MS, maybe I start lower, I start here maybe on
[00:12:09] I don't know, three or two, so the lowest millisecond is two milliseconds and the longest
[00:12:15] is 72, maybe I go up here to something higher, it takes a long time, can I actually type
[00:12:22] here something in, that's a problem, maybe 200, something like that, okay so we start
[00:12:33] on two and we end on 200, right, and then we scale here the all paths to different milliseconds,
[00:12:43] okay can I leave this open here actually, no, so we start with two milliseconds here and
[00:12:52] we use 10, so one, two, three, four, five, six, seven, eight, nine, ten, damn, maybe this
[00:13:02] up here in a better way, would be really cool if we had some kind of sub modules, huh, okay
[00:13:19] this isn't wrong, so we have two and then we go to 93, then we go to 120, actually we
[00:13:30] could copy this here, then we go to 137, then we go to 150, then we go to 164, then we go
[00:13:57] to 174, 183, and 200, let's see how this sounds, so then we bring this back in here and we
[00:14:17] hold down shift, so we have a blend, you can already hear, let me bring this in here, that
[00:14:32] we have a very long nice reverb, and maybe we bring the attack higher here, so you can
[00:14:59] hear it sounds a bit metallic, so we can tweak maybe the settings or we can bring in, what's
[00:15:07] the name of chorus, so it brings in a bit of movement, sounds much better already, very
[00:15:20] low modulation speed here, what I also like to do sometimes is to
[00:15:50] use pitch, pitch shifter, so we got this pitch shifter here a while ago, and the grain rate
[00:15:57] is basically how long the buffer is, it doesn't go lower than that, I wish they make this
[00:16:06] a bit longer here, but we can just put this here in between, so the sound comes in here
[00:16:14] and then we maybe pitch it down or up, so it's a shimmery reverb, minus 12, then we bring
[00:16:23] in the mix here 50%, so we have a pitched up or normal dry signal and a pitched down
[00:16:30] signal, so we diffuse it a lot, and maybe this is here a bit too much, right, it's too
[00:16:52] much noise, but also sounds nice kinda, maybe to this here a different mode rate relative,
[00:17:05] so we have here this curve setting, so we can bring in here a chance module, so not
[00:17:20] every trigger triggers the envelope, only, I don't know, 30%, and then we get the dice
[00:17:30] module again, and every time we get a trigger, we also randomly modulate the skew by I don't
[00:17:40] know how much, not too much, 25%, and then there's the stereo detune here, so we can
[00:17:56] detune slightly the left and right channel to get more like a stereo effect, but we can
[00:18:01] also randomize this here a bit, why not too much, what we also can do is we can bring
[00:18:19] in here the scale module, so the scale quantizes again to the current scale that we dialed
[00:18:25] in at the top, so just to make sure we are absolutely inside of the scale, we can just
[00:18:31] bring this in here, and here the pitch quantized, like I said, only plays the fifth, the fourth,
[00:18:40] the third, maybe this one, the tenth, and this attenuate changes basically the range,
[00:18:59] how high notes go when you generate notes or how long, and if you keep this at zero,
[00:19:04] it only plays the root, okay, so this sounds kinda nice already, I probably want to bring
[00:19:19] in the chorus at the end, there's the output here, maybe here, oh, let's see how this sounds,
[00:19:38] I can also change here with this mix setting, I can say I only want to have the pitch down
[00:20:00] version, when I think there's too many overtones, too many high pitches, I just increase here
[00:20:09] the percentage, maybe 70, I can also do a delay, maybe a long delay, go into the delay,
[00:20:28] and blend it in, this is 100%, and then use an LFO, or maybe we can use here an random,
[00:20:40] let's use an LFO, it's more predictable, something like this, then we modulate, just slide it
[00:20:46] at the delay time, you can hear how it changes the pitch, but we don't want that too much,
[00:20:57] just a tad, bit of feedback here, by the way, the pitch wobble increases also when you make
[00:21:21] the delay buffer longer, make this longer, it sounds more drastic, even though we haven't
[00:21:28] changed the modulation, so we need to always do both, kind of, so now we have this pitch
[00:21:40] modulated version here, we can bring in the dry signal, and now we have again two signals
[00:21:47] overlapping, make things a bit more dense, and thick, and pleasant, maybe we can increase
[00:22:02] this a bit more, because we have now the dry signal here, which stabilizes everything,
[00:22:30] so then we have a problem here, as you can see, sometimes the envelope triggers while
[00:22:38] we are currently playing a note, so we are here at this position for instance, and we
[00:22:43] currently play the sign, and then we get a new trigger, and we get a new note information,
[00:22:47] and then the oscillator switches to a different pitch while we are currently playing the pitch,
[00:22:54] so that's not what we want, we want to wait until the envelope settles down to zero, so
[00:23:02] we can go to another pitch and restart the whole thing, I think we should get here a
[00:23:16] trigger when this is zero, and let's bring an end, oh this is not possible, because it's
[00:23:29] a feedback loop, so we need to use a delay here, okay let's try this, right, only when
[00:23:39] this envelope goes down to zero here, this trigger is allowed to actually trigger something,
[00:23:48] I hope this makes sense, so now we shouldn't get any triggers while one note is currently
[00:23:56] playing, so we get rid of these kind of clicks and crackles here and there, because we switched
[00:24:03] the pitch from one point to another point, anyway, it's not rocket science, it's the
[00:24:15] grid, oh it's a bit too much here still, so okay I like that we have here an LFO, but
[00:24:26] I still think it's a bit too static, so I bring in a render modulator here, so the render
[00:24:32] modulator gives us random values and it modulates the LFO speed slightly, just to get a bit
[00:24:39] of variation in there, we also can try as we can bring in here maybe the noise, let's
[00:24:59] see how this sounds, but only here, does this work, holding down shift, yeah, no it doesn't
[00:25:28] fit, oh maybe it fits, I don't know, can also try and
[00:25:58] use your delay in this position, like this, and then use a trigger, so we trigger here
[00:26:15] eight times each bar, dies, a random number, and we modulate here, this delay time heavily,
[00:26:33] see it switches from point to point, but we bring also in a leg, so we have a slight
[00:26:40] glide from one position to the other, okay let's see how this sounds, oh yeah we could
[00:27:02] use another dies, and then modulate the filter, like this, make it a bit faster, so we have
[00:27:32] that, it gives us a little bit of glitch sounds, oh maybe we should start higher, because lower
[00:27:54] we get these kind of metallic sounds, which I don't like, okay so then we have these sounds
[00:28:14] all the time which is a bit annoying, as we bring in here an amplitude envelope, and we
[00:28:25] use a chance, trigger this, 20%, oh maybe use a different trigger, maybe go to four,
[00:28:55] maybe it's not the best sound, okay, so we have this, we have this, and then we have this,
[00:29:25] and this is probably the most time intensive part that you need to find the right settings
[00:29:34] for everything, until it sounds nice, okay let's see if we bring in here an outpass,
[00:30:03] let's see if we can do that, okay, so we have this, and then we have this, and then
[00:30:32] we have this, and then we have this, and then we have this, and then we have this, and
[00:31:02] let's make it less, not too much, even less, 3%, only sometimes, probably delete this later
[00:31:23] on, okay, so now we have here a first small little part that we maybe like, so people
[00:31:46] always ask me why I do this in this kind of compact format, because it fits on the screen,
[00:31:53] and then I can just record the video instead of scrolling around, maybe make this one color,
[00:32:21] maybe it gives us also different color, something like this, okay, so let's create some lower
[00:32:41] bass sounds here, kind of in the same way, we probably want to do that too, and we want
[00:33:03] to pitch it down by an octave or two, right, the range is very narrow, so I want to generate
[00:33:14] around C3 some notes, but then I pitch it down to octaves, so I'm probably in C0 or
[00:33:19] something like that, and then I do the same thing here with that, I don't need that, so
[00:33:44] here I, maybe we want to have one note each bar, maybe go to 10, 10, 10, 10, 10, 2, 3,
[00:34:14] 10, and maybe we use a saw here, and a filter, a MOOC filter, oh, what happened, I didn't
[00:34:32] do anything, it's not my fault, a MOOC filter, and maybe we need to hear a bit of stereo
[00:34:54] difference, and make it mono.
[00:35:10] And then, when the pitch changes, we want to have a slight glide, then we can use the
[00:35:36] pitch also here for the offset, oh, that's too much, maybe C4, one octifier, what's the
[00:35:54] next one, G4, G5, so basically going up here to harmonics, C3 is the root, C4 is one partial
[00:36:09] higher, second harmonic, third harmonic is then G5, I guess, or G4.
[00:36:36] Okay, so maybe we make this even slower, so I go for a transport, so instead of having
[00:36:47] one trigger for each bar, we can say bar, two bars, now we get a trigger for every two
[00:36:54] bars, and the oscilloscope, right, so we have here one ramp going up for one bar, okay,
[00:37:24] and then it goes down and starts again, so we can use this purple signal here for shaping
[00:37:32] actually the volume, so instead of using an amplitude envelope, we just use the signal
[00:37:37] to shape it, and we can take a mirror first, maybe give this different color, so we can
[00:37:45] see it better, oh, it doesn't give me a different color for some reason, okay.
[00:37:54] Alright so now the mirror, exactly at 12 semitones, gives me a ramp up, ramp down, over the whole
[00:38:00] course of this original ramp up, and then what I want to do is I want to average the
[00:38:09] signal maybe, or use a bend, a bend could be something like this, alright, you can see
[00:38:22] this triangle now is a bit softer around it, maybe something like that, goes up in volume,
[00:38:33] then the volume goes down, it's exactly what we want, so we can take the signal and use
[00:38:41] it here as an envelope, hope you can hear it, alright, volume goes down, you can see
[00:39:04] how the waveform goes down in volume, so yeah, it's an envelope shaper, or maybe it's too
[00:39:25] drastic, maybe use another bend, make it even steeper, oh it's happening here, oh it's probably
[00:39:51] too, it pushes the boundaries of, why is that, okay, this is a problem here I see, oh it's
[00:40:17] happening, so this is a bit smoother, maybe go for 4 bars, so each note, each bass note
[00:40:27] is now 4 bars long, okay, let's leave it at that, so this is the bass, so here the sound
[00:40:49] is kind of cool, I still like it, but having this only playing occasionally, it's annoying,
[00:41:04] so I bring in a bit of a different noise, high pass, and low pass, so that's it, that's
[00:41:24] (dramatic music)
[00:41:54] - So this sounds like a bit distant rain,
[00:41:58] but it's a very constant distant rain,
[00:42:00] so we need to modify that.
[00:42:02] Slightly modulating here.
[00:42:24] (dramatic music)
[00:42:55] Okay, let's try again with some low pass.
[00:42:59] Use a chance.
[00:43:06] It's a bit too loud, huh?
[00:43:12] And then we use an AD.
[00:43:14] Trigger with this chance here, this AD.
[00:43:24] (dramatic music)
[00:43:27] And then I love nubba filter.
[00:43:31] (dramatic music)
[00:43:54] (dramatic music)
[00:43:56] Yeah, I need the dice.
[00:44:01] I need to modulate this, so mount.
[00:44:25] (dramatic music)
[00:44:27] That's too much.
[00:44:28] (dramatic music)
[00:44:52] Yeah, maybe we can also modulate this.
[00:44:54] (dramatic music)
[00:44:57] Not too much.
[00:45:02] (dramatic music)
[00:45:22] (dramatic music)
[00:45:25] Yeah.
[00:45:29] (dramatic music)
[00:45:31] (dramatic music)
[00:45:52] (dramatic music)
[00:45:55] Maybe we can bring in a leg.
[00:46:04] Oh, this one.
[00:46:07] (dramatic music)
[00:46:09] And we dice this also.
[00:46:14] (dramatic music)
[00:46:22] (dramatic music)
[00:46:25] Cool.
[00:46:34] (dramatic music)
[00:46:37] Okay, let's make this a bit more compact here.
[00:46:45] (dramatic music)
[00:46:52] (dramatic music)
[00:46:55] Oh, we could also modulate the loudness of that.
[00:46:58] (dramatic music)
[00:47:00] This is cool.
[00:47:01] (dramatic music)
[00:47:03] Just a bit.
[00:47:05] (dramatic music)
[00:47:07] So it changes over time, so it's not like a static noise
[00:47:13] floor, it changes and modulates and evolves over time.
[00:47:17] (dramatic music)
[00:47:22] (dramatic music)
[00:47:25] (dramatic music)
[00:47:28] (dramatic music)
[00:47:30] (dramatic music)
[00:47:33] (dramatic music)
[00:47:36] (dramatic music)
[00:47:39] (dramatic music)
[00:47:41] So we could theoretically do this again
[00:47:47] with a different setting to make it a bit more dense.
[00:47:50] (dramatic music)
[00:47:53] Yeah, that's...
[00:48:00] (dramatic music)
[00:48:20] (dramatic music)
[00:48:23] It's probably not necessary,
[00:48:49] but...
[00:48:50] (dramatic music)
[00:48:53] Maybe bring it more in the background.
[00:48:58] (dramatic music)
[00:49:01] (dramatic music)
[00:49:20] (dramatic music)
[00:49:24] So we have two noise generators here
[00:49:26] and a bit of wind and rain.
[00:49:30] (dramatic music)
[00:49:32] So we can try and do another one, but a bit different.
[00:49:38] (dramatic music)
[00:49:41] Same trick as before, we use your low pass on pink.
[00:49:47] (dramatic music)
[00:49:49] (dramatic music)
[00:49:52] Maybe use a different filter.
[00:49:53] (dramatic music)
[00:49:56] We use noise as an input, but yeah, we use that.
[00:50:01] (dramatic music)
[00:50:04] Amplify and out.
[00:50:08] (dramatic music)
[00:50:11] (dramatic music)
[00:50:19] (dramatic music)
[00:50:49] (dramatic music)
[00:51:19] (dramatic music)
[00:51:22] Also interesting could be to use here a scale
[00:51:30] to apply pitch to the right frequencies of the scale.
[00:51:38] But then we need here...
[00:51:41] This attenuate we need here.
[00:51:45] And here we need to have four.
[00:51:49] And this needs to be on C3.
[00:51:51] (dramatic music)
[00:51:54] So it always lands or goes to a frequency of D sharp minor.
[00:52:03] It doesn't make any sense here, but.
[00:52:06] (dramatic music)
[00:52:18] You see all the sounds.
[00:52:20] (dramatic music)
[00:52:49] (dramatic music)
[00:52:52] This may be better.
[00:52:55] (dramatic music)
[00:53:19] (dramatic music)
[00:53:22] Okay, this makes no sense.
[00:53:26] I think.
[00:53:27] (dramatic music)
[00:53:30] (dramatic music)
[00:53:48] (dramatic music)
[00:53:51] Does this sound good?
[00:54:00] I don't think so.
[00:54:01] (dramatic music)
[00:54:04] I will could use here just a sign.
[00:54:13] (dramatic music)
[00:54:18] (dramatic music)
[00:54:21] (dramatic music)
[00:54:24] Okay, so we use a trigger or not a trigger, a transport.
[00:54:29] Every four bars maybe.
[00:54:37] Let the chance at 50%.
[00:54:42] (dramatic music)
[00:54:49] (dramatic music)
[00:54:51] Let's see how it sounds.
[00:55:02] (dramatic music)
[00:55:05] (dramatic music)
[00:55:19] (dramatic music)
[00:55:22] Okay, so maybe you can copy here this kind of construct.
[00:55:27] (dramatic music)
[00:55:30] Over here.
[00:55:34] (dramatic music)
[00:55:37] Oh, let's go out here.
[00:55:43] (dramatic music)
[00:55:49] (dramatic music)
[00:55:52] Let's go back to 100% just for.
[00:55:54] (dramatic music)
[00:55:57] That was kinda nice.
[00:56:01] It just plays sometimes.
[00:56:05] (dramatic music)
[00:56:18] (dramatic music)
[00:56:21] (dramatic music)
[00:56:26] Yeah, let's use another modulation here.
[00:56:30] Slight modulation.
[00:56:31] Is this random?
[00:56:35] I'll use this one.
[00:56:36] Use the same one.
[00:56:39] Fine.
[00:56:40] (dramatic music)
[00:56:47] Okay, so now that we have this,
[00:56:49] we can maybe use a second sign.
[00:56:54] The same pitch.
[00:56:56] Maybe three harmonics higher.
[00:57:03] (dramatic music)
[00:57:06] Another dies.
[00:57:14] (dramatic music)
[00:57:18] And we modulate the amount here for each note.
[00:57:23] (dramatic music)
[00:57:26] And we modulate here the ratio by, let's say five.
[00:57:32] (dramatic music)
[00:57:35] Put it there.
[00:57:36] (dramatic music)
[00:57:38] Yeah, why not modulate the length?
[00:57:45] (dramatic music)
[00:57:49] Let's get some variety in there.
[00:57:51] (dramatic music)
[00:57:53] And here we get also slide the tuning.
[00:58:08] (dramatic music)
[00:58:15] And every time we trigger this,
[00:58:18] we get not for every note.
[00:58:20] For every trigger sequence, we get something different.
[00:58:27] And that's the scale of the notes.
[00:58:32] (dramatic music)
[00:58:36] So sometimes the note range is bigger,
[00:58:37] sometimes the note range is smaller.
[00:58:40] So it's not the same sequence every time.
[00:58:43] (dramatic music)
[00:58:46] Perfect.
[00:58:56] (laughs)
[00:58:58] Okay, so we have another block of stuff.
[00:59:04] (dramatic music)
[00:59:13] (dramatic music)
[00:59:16] So now the legal,
[00:59:36] legal wars, Tetris wars started.
[00:59:40] (dramatic music)
[00:59:44] (dramatic music)
[00:59:47] Maybe get into something here.
[00:59:51] (dramatic music)
[00:59:55] (dramatic music)
[00:59:57] (dramatic music)
[01:00:05] Damn.
[01:00:09] (dramatic music)
[01:00:14] (dramatic music)
[01:00:17] Oh, we can lift this out.
[01:00:19] Just use that.
[01:00:22] Minimal is better.
[01:00:27] (dramatic music)
[01:00:44] And here we can add the view meter for no reason.
[01:00:48] (dramatic music)
[01:00:51] (dramatic music)
[01:01:01] Yeah.
[01:01:11] (dramatic music)
[01:01:14] So make this event here a bit rarer.
[01:01:22] Rarer, rarer.
[01:01:24] Where's it?
[01:01:26] (dramatic music)
[01:01:29] Chance 40.
[01:01:37] Let's go to 20.
[01:01:39] (dramatic music)
[01:01:42] Let's use a pulse.
[01:01:46] (dramatic music)
[01:01:49] I could use some samples actually,
[01:01:53] but I want to show you the process what I do sometimes.
[01:01:57] It's actually fun to me to not use samples.
[01:02:00] Samples using is basically easy.
[01:02:02] You can just sample some random stuff with a lot of reverb,
[01:02:06] and then put it in a sampler and play it back randomly
[01:02:09] and you get nice ambient.
[01:02:11] (dramatic music)
[01:02:14] So let's generate nodes in a different way.
[01:02:19] Instead of using a dice module
[01:02:22] and just filtering this with a quantizer,
[01:02:24] why not use a merge like that?
[01:02:29] Let's say we want to generate eight nodes.
[01:02:37] And to use a trigger,
[01:02:39] when we push this button,
[01:02:42] we get a random value on each dice.
[01:02:46] (clears throat)
[01:02:49] (dramatic music)
[01:02:52] So every time we trigger this,
[01:02:59] we get a random value each time,
[01:03:01] but the sequence stays the same
[01:03:03] until we press the trigger, of course.
[01:03:07] As we go into that,
[01:03:09] we go into an attenuate because the range is too big.
[01:03:12] We go for quantize.
[01:03:22] Route fifth, fourth.
[01:03:35] And then, make this offset trick.
[01:03:40] Maybe we want to use an octave later.
[01:03:47] Change the octave.
[01:03:50] Let's leave that zero at the moment.
[01:03:52] Okay, we did an AD.
[01:03:59] Actually, do we want to use a pulse?
[01:04:02] Yeah, let's use a sign.
[01:04:06] Yeah.
[01:04:07] Out.
[01:04:10] We want to use also here this kind of stuff.
[01:04:14] Oops.
[01:04:21] So we go in here.
[01:04:28] This goes there, this goes out,
[01:04:30] and then we go back here.
[01:04:36] Wait a minute.
[01:04:38] That.
[01:04:42] We use an amp.
[01:05:06] (dramatic music)
[01:05:08] And we need, of course,
[01:05:10] go there through the sequence.
[01:05:13] We use a counter.
[01:05:14] We have eight positions.
[01:05:16] And we need to have this nearest interpolation.
[01:05:23] And then we want here.
[01:05:35] (dramatic music)
[01:06:05] .
[01:06:06] Small little melody.
[01:06:35] So now we could use here, let's say, a dice.
[01:06:38] Right, go into the dice,
[01:06:41] and then generate random positions
[01:06:44] for some of the modulations.
[01:06:46] But the problem is, it's not,
[01:06:48] you know, I want to have repeatable patterns.
[01:06:51] So I want to have on each note the same position here
[01:06:53] for some of the modulations.
[01:06:55] So what I do, I just duplicate this here.
[01:06:58] So this is for the pitch.
[01:07:05] (dramatic music)
[01:07:08] Something like that.
[01:07:16] So this is here, maybe the skew.
[01:07:19] New melody.
[01:07:23] (dramatic music)
[01:07:35] (dramatic music)
[01:07:38] Works great, in my opinion.
[01:07:43] Let's do the same thing again.
[01:07:46] Was it called decay?
[01:07:53] So this one here modulates the decay time.
[01:07:59] (dramatic music)
[01:08:06] (dramatic music)
[01:08:09] Does it make sense?
[01:08:26] So we have now a repeatable pattern
[01:08:33] for pitch and for the skew and for the decay time.
[01:08:37] (dramatic music)
[01:08:40] What you can hear, it's just eight notes repeating,
[01:08:50] which is a bit too annoying over time.
[01:08:52] Um, I don't need that.
[01:08:57] (dramatic music)
[01:09:04] So what we want to do is we bring in another sequencer here
[01:09:07] that does something different.
[01:09:09] So let's use a merge.
[01:09:12] (dramatic music)
[01:09:15] Maybe three positions, I don't know.
[01:09:22] And use a transport.
[01:09:24] This transport uses bars, so every one bar,
[01:09:31] we step to a different input.
[01:09:35] (dramatic music)
[01:09:37] So this is three.
[01:09:39] (dramatic music)
[01:09:58] All right, so we can now use that to bring in some changes.
[01:10:03] So let's use a dice here.
[01:10:05] (dramatic music)
[01:10:07] It's the same trigger.
[01:10:15] (dramatic music)
[01:10:18] And this modulates, or maybe use bipolar here,
[01:10:25] so it goes up and down.
[01:10:27] So this would be modulated by one, one up.
[01:10:32] (dramatic music)
[01:10:33] So by rare chance, what's repeatable every time
[01:10:38] the sequence is triggered, we go one octave higher
[01:10:43] or one octave lower, each bar.
[01:10:45] (dramatic music)
[01:10:48] And we need a sample and hold there.
[01:10:58] (dramatic music)
[01:11:26] To be honest, I don't think it's, it sounds great.
[01:11:29] (dramatic music)
[01:11:32] Maybe we reduce this to two, like that.
[01:11:38] (dramatic music)
[01:11:42] Or we completely scratch that.
[01:11:47] (dramatic music)
[01:11:50] And do this for every note.
[01:11:54] (dramatic music)
[01:11:57] That's bipolar for everything.
[01:11:59] (dramatic music)
[01:12:01] So we have this on every note.
[01:12:05] I think this is probably better.
[01:12:07] (dramatic music)
[01:12:08] Let's see.
[01:12:09] (dramatic music)
[01:12:24] (dramatic music)
[01:12:27] Or we could modify maybe at the counter.
[01:12:34] (dramatic music)
[01:12:37] Use a transport.
[01:12:44] (dramatic music)
[01:12:47] Make this two bars long, four bars long,
[01:12:54] go into the sine mode here.
[01:12:59] (dramatic music)
[01:13:03] Then use that.
[01:13:04] (dramatic music)
[01:13:24] (dramatic music)
[01:13:27] Oh, I need a sample and hold on each of these things.
[01:13:34] Damn.
[01:13:35] (dramatic music)
[01:13:38] Need one here.
[01:13:39] (dramatic music)
[01:13:42] Because it can change the modulation in between notes.
[01:13:47] (dramatic music)
[01:13:54] (dramatic music)
[01:13:57] Trust one was better, huh?
[01:14:04] Okay, I see.
[01:14:06] (dramatic music)
[01:14:24] (dramatic music)
[01:14:27] The minor second here.
[01:14:32] (dramatic music)
[01:14:36] Okay, so this melody all the time is probably annoying.
[01:14:42] So we bring in another sequencer.
[01:14:45] Can we use transport again?
[01:14:48] Yes, bar every 16 bars.
[01:14:54] (dramatic music)
[01:14:56] Do basically the same thing as with the bass.
[01:14:59] So this is a very long sequence here.
[01:15:02] (dramatic music)
[01:15:06] Here's the band.
[01:15:08] (dramatic music)
[01:15:11] Multiply.
[01:15:17] Um, here at the end.
[01:15:24] (dramatic music)
[01:15:27] So it's fade slowly in over 16 bars.
[01:15:30] (dramatic music)
[01:15:33] And every time we restart, we get here a trigger.
[01:15:42] (dramatic music)
[01:15:45] I'll make it very short.
[01:15:47] (dramatic music)
[01:15:50] And when we restart, we just re-trigger the sequence.
[01:15:55] We get a different sequence.
[01:15:56] So we fade in slowly over 16 bars, the melody.
[01:16:01] And then when we are at the end, we fade out
[01:16:03] and then we generate a new melody.
[01:16:07] And then it starts to fade in again.
[01:16:09] So what we do now here, this is at the end.
[01:16:14] So this makes no sense.
[01:16:15] Maybe we bring this in before
[01:16:20] the audio effects.
[01:16:22] So the delays and reverb can slowly.
[01:16:25] (dramatic music)
[01:16:29] Yeah, we do this here.
[01:16:30] (dramatic music)
[01:16:51] Then the delay and the reverb slowly fade out.
[01:16:56] Then it generates a new melody
[01:16:58] and then it slowly fades back in.
[01:17:00] I don't know if this makes sense.
[01:17:03] Let's see how the sounds will knock the fire
[01:17:04] because we have these kind of sounds here
[01:17:08] overlapping these sounds.
[01:17:09] (dramatic music)
[01:17:20] (dramatic music)
[01:17:23] Okay, let's make the note range a bit higher.
[01:17:45] (dramatic music)
[01:17:50] The modulate was, no, I modulate,
[01:17:52] don't modulate anything with that.
[01:17:54] So this is decaying.
[01:17:56] (dramatic music)
[01:18:20] (dramatic music)
[01:18:23] Um.
[01:18:27] I'm gonna make this lower, eight.
[01:18:33] (dramatic music)
[01:18:51] (dramatic music)
[01:18:54] Looks nice.
[01:18:56] (dramatic music)
[01:19:01] Maybe we high pass this here later on.
[01:19:10] I'll make this a bit quieter.
[01:19:12] (dramatic music)
[01:19:21] (dramatic music)
[01:19:23] This could be much better here.
[01:19:29] Not really happy with this.
[01:19:31] (dramatic music)
[01:19:50] (dramatic music)
[01:20:20] (dramatic music)
[01:20:23] Oh yeah, this is maybe a good idea.
[01:20:27] So maybe we change the note range here at some point.
[01:20:34] Hmm, this could be something.
[01:20:41] (dramatic music)
[01:20:48] So we use a dice here.
[01:20:51] This dice is retriggered every 60 bars.
[01:20:57] So we get the random value here.
[01:20:59] (dramatic music)
[01:21:02] And then we modulate this here.
[01:21:09] So it starts with zero and then goes
[01:21:13] to a random other value, slowly,
[01:21:16] over the curves of,
[01:21:18] where is it?
[01:21:22] Yeah, the curves of 16 bars.
[01:21:27] So it slowly moves from zero to the dead, maybe.
[01:21:31] (dramatic music)
[01:21:47] (dramatic music)
[01:21:49] So it goes slowly higher.
[01:22:01] (dramatic music)
[01:22:04] Also interesting.
[01:22:11] (dramatic music)
[01:22:16] (dramatic music)
[01:22:19] Oh, I try again with the sign.
[01:22:27] So we take the sequence of 16 bars
[01:22:31] and go through the sign mod,
[01:22:33] which gives us a random,
[01:22:35] (dramatic music)
[01:22:39] and we've used that.
[01:22:40] (dramatic music)
[01:22:46] (dramatic music)
[01:22:49] That's maybe better.
[01:22:58] (dramatic music)
[01:23:01] It's not really important.
[01:23:15] (dramatic music)
[01:23:17] So this is not used at the moment here,
[01:23:28] so we use it maybe for the fold.
[01:23:29] (dramatic music)
[01:23:45] And I think it's better to use a mirror here.
[01:23:49] So we fade in faster,
[01:23:53] but then we slowly fade out.
[01:23:58] (dramatic music)
[01:24:15] (dramatic music)
[01:24:17] And maybe we make this a bit longer.
[01:24:28] 32 bars.
[01:24:29] (dramatic music)
[01:24:32] Okay, and then I wanted to do something
[01:24:44] with the pools.
[01:24:48] (dramatic music)
[01:24:50] This pools just plays some random notes occasionally.
[01:24:55] (dramatic music)
[01:24:57] Let's use a range scale.
[01:25:02] (dramatic music)
[01:25:14] (dramatic music)
[01:25:16] This is the right here?
[01:25:37] Yeah.
[01:25:38] (dramatic music)
[01:25:41] Looks okay.
[01:25:42] (dramatic music)
[01:25:45] Okay.
[01:25:52] (dramatic music)
[01:25:54] Back here, trigger.
[01:25:55] (dramatic music)
[01:25:58] One trigger, each bar, at least.
[01:26:01] (dramatic music)
[01:26:04] And with a chance.
[01:26:08] (dramatic music)
[01:26:13] (dramatic music)
[01:26:14] Random note.
[01:26:15] (dramatic music)
[01:26:18] It's octave.
[01:26:22] (dramatic music)
[01:26:23] Plus one, maybe.
[01:26:25] (dramatic music)
[01:26:27] So we get this here.
[01:26:32] (dramatic music)
[01:26:35] A bit slower.
[01:26:36] (dramatic music)
[01:26:43] What else do we need?
[01:26:45] (dramatic music)
[01:26:48] We want to have here also reverb, maybe.
[01:26:53] (dramatic music)
[01:27:12] (dramatic music)
[01:27:15] Okay.
[01:27:31] It's exactly how I imagined how it sounds.
[01:27:36] (dramatic music)
[01:27:42] (dramatic music)
[01:27:44] We need the pitch here.
[01:27:45] (dramatic music)
[01:27:47] So this is on the center.
[01:27:49] (dramatic music)
[01:27:50] Okay.
[01:27:51] (dramatic music)
[01:27:53] Then we can use that.
[01:27:55] (dramatic music)
[01:27:56] Actually, change the pitch slightly, maybe one.
[01:28:00] (dramatic music)
[01:28:03] Oh, do we want to do that?
[01:28:06] (dramatic music)
[01:28:12] Let's make this longer.
[01:28:14] (dramatic music)
[01:28:16] (dramatic music)
[01:28:27] Mm.
[01:28:34] (dramatic music)
[01:28:38] What's the name bent?
[01:28:41] (dramatic music)
[01:28:43] Does it change anything here?
[01:28:44] (dramatic music)
[01:28:47] Yeah, does something.
[01:28:52] (dramatic music)
[01:28:54] Modulate out, we can take this, just pitch it down.
[01:29:00] (dramatic music)
[01:29:11] (dramatic music)
[01:29:13] Okay, this is the minus 50, it's maybe too much.
[01:29:32] But we can change how much we modulate this
[01:29:36] by attenuate here.
[01:29:37] And this is decided by randomness.
[01:29:41] (dramatic music)
[01:29:43] I would say.
[01:29:44] (dramatic music)
[01:29:47] (dramatic music)
[01:30:11] (dramatic music)
[01:30:13] But it's too much, so we go to 10%.
[01:30:26] So it's not playing all the time, 'cause it's annoying.
[01:30:29] (dramatic music)
[01:30:31] And 100% wet.
[01:30:35] So, way in the background.
[01:30:39] (dramatic music)
[01:30:41] I don't like the bass, the bass is a bit too static.
[01:30:49] Where's the bass?
[01:30:51] It's here.
[01:30:52] (dramatic music)
[01:30:54] (dramatic music)
[01:31:09] (dramatic music)
[01:31:12] So would be nice also if this is also not happening
[01:31:20] every time.
[01:31:21] (dramatic music)
[01:31:24] So, what brings in the volume?
[01:31:34] The volume brings in this one here.
[01:31:36] Okay.
[01:31:37] (dramatic music)
[01:31:38] So, we use the select.
[01:31:40] (dramatic music)
[01:31:43] Only the second input drives actually the volume up.
[01:31:50] (dramatic music)
[01:31:53] So then we have, what's the name latch?
[01:31:57] So the latch is either in zero or in one.
[01:32:04] And then we have a dice.
[01:32:05] (dramatic music)
[01:32:08] Or maybe a chance.
[01:32:10] (dramatic music)
[01:32:12] And at least, where's the transport here?
[01:32:19] This one.
[01:32:20] At least the transport switches not every time,
[01:32:26] either to zero or to one.
[01:32:27] So it would be every 64 bars then.
[01:32:31] (dramatic music)
[01:32:38] (dramatic music)
[01:32:41] But to the other hand, if it stays on one,
[01:32:48] it plays probably the sequence multiple times,
[01:32:51] one after the other, which is also not what I want.
[01:32:54] So maybe every time we,
[01:32:56] hmm.
[01:33:00] I'll just leave it at that.
[01:33:04] (dramatic music)
[01:33:07] For now.
[01:33:09] (dramatic music)
[01:33:12] It's just for the video, okay?
[01:33:19] Don't need to make rocket science out of this.
[01:33:24] (clears throat)
[01:33:27] So let's make this here a bit more compact.
[01:33:31] (dramatic music)
[01:33:38] (dramatic music)
[01:33:41] Oops.
[01:33:43] (dramatic music)
[01:33:46] Oh.
[01:34:00] (dramatic music)
[01:34:03] It's a color.
[01:34:07] (dramatic music)
[01:34:09] So maybe we can make this here a bit.
[01:34:28] (dramatic music)
[01:34:37] More dense.
[01:34:38] Okay, so we can put this there.
[01:34:42] (dramatic music)
[01:34:46] And move this up.
[01:34:47] Move this over there.
[01:34:52] (dramatic music)
[01:35:05] Okay, there's space in the middle.
[01:35:08] (dramatic music)
[01:35:10] There's probably one sound throughout the whole video.
[01:35:33] It's completely annoying, so nobody watches this, probably.
[01:35:36] Because I have it on my headphones,
[01:35:38] and nothing peaks out, but that's probably something.
[01:35:43] (dramatic music)
[01:35:45] Okay, can we make this here a bit more?
[01:35:49] (dramatic music)
[01:35:54] Would be great to have some kind of automate make this nice.
[01:36:00] Automating make this nice looking.
[01:36:03] (dramatic music)
[01:36:06] Okay, what else can we put into that?
[01:36:34] (dramatic music)
[01:36:36] So here needs to be something
[01:36:44] that shows the place, the space.
[01:36:48] (dramatic music)
[01:36:50] We can use an empty label.
[01:36:54] The space in it.
[01:36:58] Put this there.
[01:37:01] (dramatic music)
[01:37:04] Can use a spectrum in here.
[01:37:30] (dramatic music)
[01:37:32] Looks weird to have this in different height.
[01:37:41] (dramatic music)
[01:37:44] (coughing)
[01:37:53] Oh, that's a deep base.
[01:37:55] (dramatic music)
[01:38:00] (crashing)
[01:38:02] I like it.
[01:38:12] (dramatic music)
[01:38:30] (dramatic music)
[01:38:32] Oh, do we have the blue in here?
[01:38:51] No.
[01:38:52] (dramatic music)
[01:39:00] (dramatic music)
[01:39:02] So yeah, the base is at least below the pads.
[01:39:13] (dramatic music)
[01:39:16] (dramatic music)
[01:39:31] Oh, this one here needs some high pass.
[01:39:34] There's a lot of rumble down there.
[01:39:40] (dramatic music)
[01:40:00] (dramatic music)
[01:40:02] That's better.
[01:40:07] (dramatic music)
[01:40:27] We could also add here another sign also later,
[01:40:31] or maybe here then.
[01:40:32] (dramatic music)
[01:40:35] (dramatic music)
[01:40:57] (dramatic music)
[01:41:00] Ah, this needs to be unipolar.
[01:41:05] (dramatic music)
[01:41:08] Let's see how this sounds over time.
[01:41:14] (dramatic music)
[01:41:26] I have no idea what's going on.
[01:41:28] So, can we move this over here?
[01:41:32] Yes, we can.
[01:41:35] (dramatic music)
[01:41:57] Now we can use also the scope here again.
[01:42:00] (laughs)
[01:42:02] Just to fill the space.
[01:42:03] (dramatic music)
[01:42:26] (dramatic music)
[01:42:29] Not range.
[01:42:37] (dramatic music)
[01:42:40] (dramatic music)
[01:42:54] Okay, we have some place down here to build something there.
[01:42:59] (dramatic music)
[01:43:02] So, maybe we take the base, the base frequencies,
[01:43:16] and bring in some overtones.
[01:43:17] Um...
[01:43:20] (dramatic music)
[01:43:24] (dramatic music)
[01:43:27] And we need...
[01:43:50] (dramatic music)
[01:43:54] The base is actually using here the skate signal right.
[01:43:58] (dramatic music)
[01:44:00] What do you think this one?
[01:44:14] (dramatic music)
[01:44:16] (dramatic music)
[01:44:25] (dramatic music)
[01:44:27] (speaking in foreign language)
[01:44:31] (dramatic music)
[01:44:34] (dramatic music)
[01:44:42] Um...
[01:44:49] That's what I need.
[01:44:55] (dramatic music)
[01:44:57] Ah, and I need an octave, so I can change the octave here.
[01:45:01] (dramatic music)
[01:45:04] Maybe we can use a wavetable or something like that, yeah.
[01:45:21] (dramatic music)
[01:45:24] (dramatic music)
[01:45:27] (dramatic music)
[01:45:51] (dramatic music)
[01:45:54] Um...
[01:45:58] (dramatic music)
[01:46:02] We use a random LFO here.
[01:46:05] Random LFO smoothing all the way up.
[01:46:08] Just modulate this, just very simple.
[01:46:12] (dramatic music)
[01:46:19] And then, use 3A here.
[01:46:22] And maybe a notch filter.
[01:46:25] (dramatic music)
[01:46:29] (dramatic music)
[01:46:49] (dramatic music)
[01:46:52] Yeah, let's try a lag here.
[01:46:55] Oh, yeah, let's use this lag.
[01:47:00] (dramatic music)
[01:47:03] (dramatic music)
[01:47:08] Trigger.
[01:47:18] (dramatic music)
[01:47:20] So every four, every quarter notes.
[01:47:26] (dramatic music)
[01:47:31] We change the octave, but only upwards.
[01:47:38] (dramatic music)
[01:47:41] And the glide.
[01:47:44] (dramatic music)
[01:47:49] Ah, two is enough.
[01:47:50] (dramatic music)
[01:47:53] (dramatic music)
[01:48:05] (dramatic music)
[01:48:18] (dramatic music)
[01:48:20] (dramatic music)
[01:48:28] It's a bit too wild.
[01:48:39] (dramatic music)
[01:48:48] (dramatic music)
[01:48:50] Yeah, but maybe you also do again the reverb.
[01:49:10] If I have more time, I sometimes do different reverbs
[01:49:17] or different things, things, but for now, it's okay.
[01:49:22] (dramatic music)
[01:49:25] (dramatic music)
[01:49:47] (dramatic music)
[01:49:50] (dramatic music)
[01:50:17] (dramatic music)
[01:50:20] Okay, let's use this here and that.
[01:50:35] (dramatic music)
[01:50:38] (dramatic music)
[01:50:48] (dramatic music)
[01:50:51] Now we want to stay on saw, not too much.
[01:51:01] So we don't want to go too much into the pulse position.
[01:51:05] (dramatic music)
[01:51:15] Okay, so now we have a bit of stuff here we can use here
[01:51:20] in this space.
[01:51:21] (dramatic music)
[01:51:24] Okay, let's fill this up.
[01:51:43] Got some more on pass here.
[01:51:46] (dramatic music)
[01:51:48] (dramatic music)
[01:52:14] (dramatic music)
[01:52:17] Ah, it sounds evil, just like a pet.
[01:52:32] I mean, it is a pet sound.
[01:52:34] I actually wanted to make an evil overtone for the bass.
[01:52:43] Okay, so it's a medium-sized patch.
[01:52:46] It's not a super big patch.
[01:52:49] I built some bigger ones.
[01:52:51] (dramatic music)
[01:52:54] I still kinda like it.
[01:52:55] So what I do is then sometimes as I,
[01:52:57] or not sometimes, most of the times,
[01:53:00] I just put a matcher on that.
[01:53:01] And I have here my deep roller preset
[01:53:05] and analyze the frequencies.
[01:53:07] Oh, there's a lot of deep bass there.
[01:53:09] (dramatic music)
[01:53:13] (dramatic music)
[01:53:16] Just analyze this here for a moment
[01:53:18] until I get all the frequencies in.
[01:53:20] (dramatic music)
[01:53:41] (dramatic music)
[01:53:44] I'm not really happy with the bass.
[01:53:49] I guess E.B. is too low.
[01:53:52] (dramatic music)
[01:54:11] (dramatic music)
[01:54:14] Yeah, and then I just put this here on 50%.
[01:54:21] It even changes the loudness.
[01:54:24] So the thing is, I want to keep basically
[01:54:29] between all my videos on the music channel,
[01:54:31] I want to keep a similar kind of level from loudness
[01:54:35] and frequency so you can listen, you know,
[01:54:39] one video after the other and it's not like,
[01:54:42] oh, here's a lot of bass and there's no bass at all.
[01:54:46] And this one is loud and this one's quiet.
[01:54:48] So keep the consistency.
[01:54:49] This is why I'm doing that.
[01:54:51] (dramatic music)
[01:54:52] Also interesting, maybe you see my thing,
[01:54:56] matched curve.
[01:54:59] (dramatic music)
[01:55:02] Like that.
[01:55:04] (dramatic music)
[01:55:09] (dramatic music)
[01:55:12] Or maybe use here a preset for loudness, maybe.
[01:55:24] Very slow attack.
[01:55:31] Then match it again.
[01:55:39] (dramatic music)
[01:55:42] It's maybe too much, yeah.
[01:55:44] (dramatic music)
[01:55:46] Yeah, and then I record a video.
[01:55:51] That's it, basically.
[01:55:53] (dramatic music)
[01:55:56] (dramatic music)
[01:56:09] (dramatic music)
[01:56:12] It's okay, but some sounds are a bit annoying
[01:56:25] so it needs a bit more tweaking.
[01:56:28] Maybe one hour of tweaking, setting all the sounds right.
[01:56:32] This one is a bit too loud.
[01:56:38] It's the 60%.
[01:56:39] (dramatic music)
[01:56:42] Maybe 45.
[01:56:44] (dramatic music)
[01:56:47] Maybe you can make the pitch wobblier a bit more drastic.
[01:56:57] (dramatic music)
[01:57:09] (dramatic music)
[01:57:11] Okay, so that's enough.
[01:57:27] And then maybe a peak limit on here.
[01:57:32] (dramatic music)
[01:57:39] (dramatic music)
[01:57:40] Oh, we can actually change here the,
[01:57:42] from the bass, the beating frequency.
[01:57:47] We can modulate this a bit.
[01:57:49] (dramatic music)
[01:57:52] (dramatic music)
[01:58:08] (dramatic music)
[01:58:10] I'm not sure about the sound, but I leave it in.
[01:58:26] Maybe turn this a bit down, 24.
[01:58:28] Yeah, the first sound we started with one was not the best.
[01:58:33] (dramatic music)
[01:58:38] (dramatic music)
[01:58:40] That's the wobble.
[01:59:05] (dramatic music)
[01:59:08] . (dramatic music)
[01:59:38] (dramatic music)
[01:59:40] So this one is also something different.
[02:00:00] (dramatic music)
[02:00:08] (dramatic music)
[02:00:10] It's a bit annoying that I have here space in the middle.
[02:00:19] (dramatic music)
[02:00:21] Could bring in here some alpars.
[02:00:28] (dramatic music)
[02:00:38] (dramatic music)
[02:00:40] That's better.
[02:00:58] (dramatic music)
[02:01:08] (dramatic music)
[02:01:10] Yeah, I can use a BU meter.
[02:01:31] That's how I feel it.
[02:01:33] (dramatic music)
[02:01:36] Damn, done.
[02:01:39] (dramatic music)
[02:01:42] Ugh, okay.
[02:01:49] What do we have?
[02:01:52] Two hours and one minute, or two minutes.
[02:01:56] Okay.
[02:01:56] (dramatic music)
[02:01:58] So I probably just take this, record the whole thing,
[02:02:03] let it run, and then I save the preset,
[02:02:08] give it a nice name, put it on my dispenser,
[02:02:13] and then you can download this,
[02:02:14] and you can watch the video, how I build it.
[02:02:17] Okay.
[02:02:19] (dramatic music)
[02:02:21] That's it, thanks for watching.
[02:02:22] Let me know what you think.
[02:02:24] I think it's better to put this on a different channel,
[02:02:26] on a separate channel than using my main channel
[02:02:29] because most people don't watch that for that long,
[02:02:34] and you know, it just brings the views down,
[02:02:36] and people are confused, what's that,
[02:02:38] and I don't watch this.
[02:02:40] Two hours, I don't watch two hours, right?
[02:02:43] But there are some maniacs who want to watch it,
[02:02:45] so I put it on a different channel, that's the idea, okay?
[02:02:49] Thanks, and see you next time.
[02:02:51] And of course, let me know in the comments down below
[02:02:53] what you think.