Bitwig Grid Additive Ambient Patch with Generative Bass

[00:00:00] Okay so let's start something new. I have a rough idea for the start at least but
[00:00:05] not not really fully grid devices. So today I want to use multiple sign oscillators
[00:00:18] to make something additive maybe in the beginning at least. So let's take what
[00:00:26] do we use pitch? We start just with the pitch. I probably replace this later on so
[00:00:34] we take the pitch. We don't need the pitch input also here. That, that. Then we take
[00:00:44] an oscilloscope and we need to mix. Mixer. So we can see what we're doing or maybe
[00:01:00] a spectrum analyzer also. And here we take huge as a resolution. Okay so here we
[00:01:13] have the same frequency. This is the first harmonic, second one, third. And third
[00:01:21] harmonic. Four, five, six. Should be enough actually. Then we want to change the
[00:01:39] amplification here. And we want to re-trigger this. Let's use the button
[00:01:50] first. Right so each oscillator starts exactly in the same phase position at
[00:02:01] least. We have this kind of output here. And then we can influence. I use an
[00:02:13] attenuate here because the mixer right goes to zero and then plus six and minus
[00:02:19] infinity. But here we can say no, yes, no, yes and everything in between. So this
[00:02:26] is the fundamental here. It's that. Of course we want to modulate this of course
[00:02:34] over time. And I take a VU meter. We can see, oops, we can see which kind of
[00:02:49] overtone is active at which given time or it's actually connected. Oh no, it's not
[00:02:54] connected. Like this. Not connected. Okay now we can bring in or bring out these
[00:03:12] overtones and get a different sound.
[00:03:18] And now you can see here it's changing because C3 is not the pitch of the whole
[00:03:26] grid anymore. So this one, if this is here at pitch, it takes always the pitch
[00:03:31] window of the given input. At the moment it's C3. So when I play a different note
[00:03:38] on the keyboard, this of course takes a different pitch window. But when I change
[00:03:42] it inside of the grid, the grid module or device itself doesn't change the pitch
[00:03:48] so you can see here it's moving then because it's outside of the window. So
[00:03:54] let's leave it for that here inside of the window. Then we take an output for now
[00:04:04] and test it.
[00:04:26] Okay, so we have here, yeah, we can basically change the harmonics.
[00:04:33] Maybe it would be better to dial in here some kind of slope.
[00:04:49] Something like that. If we take here a song, I use a different color, and overlay this with the same pitch, I would say.
[00:05:10] You can see, you completely replace here the first six fundamentals. You can maybe
[00:05:28] high pass this with SVF and also take the pitch here. So now the pitch is basically
[00:05:42] at the fundamental here, right, to cut off. That's a high pass. High passes here. Then
[00:05:48] we can go up, right, and then we blend out here the lower partials. But I use a steeper
[00:05:56] filter, maybe this one, high pass 8, and it's better. So we can say we want to
[00:06:04] remove from the saw actually all these lower fundamentals and want to replace it
[00:06:11] with our thing here.
[00:06:33] Something like that. Let's see how this sounds when we mix it together.
[00:06:40] Mixer, this one, and this one.
[00:06:58] But now we can kind of change here what we have in the lower frequencies.
[00:07:11] Actually, can I make this a bit steeper here when I use two filters? A little bit.
[00:07:18] Not really. Let's try it out for that.
[00:07:40] And now we modulate here the overtones. It's already a bigger patch. Maybe we don't
[00:07:57] modulate it to use maybe a dice when we retrigger. Then we take a modulator out.
[00:08:10] This one defines, we leave the fundamental always on.
[00:08:18] Right, so with this attenuate I can just fully modulate without losing here the
[00:08:26] offset. And I can easily just drag all the way up enough, 100%, and not go into
[00:08:34] the positive range here, plus 60B or whatever. Okay. So now that we have this,
[00:08:45] we can try first to retrigger this multiple times here. See what comes out.
[00:08:52] 8, we want to go down to 85. We use an AD maybe at the end. This is basically one
[00:09:04] oscillator here. I'm building a custom oscillator more or less where we can
[00:09:07] change the overtones. We retrigger here. And then every time we replace this with
[00:09:22] the trigger, and then we can go in here. So we get an every trigger, we get a
[00:09:29] different set of combinations of overtones. Looks always a bit different.
[00:09:38] Then we can use another dice.
[00:09:47] What's the pitch quantizer? Only go for the root, the fifth, and the fourth.
[00:10:07] Then transpose this up from C3 up to D#3. Or maybe don't make it manually. We add
[00:10:20] the root to it. So now we transpose this. Okay, then we take another pitch
[00:10:32] quantizer. It's not really needed, but it helps sometimes to visualize what's going
[00:10:38] on. Because we want to go to EB minor. As you can see, we play here now different
[00:10:51] notes in the scale of EB. It's all the black keys. And then we use a scalar. So we
[00:10:58] are in the right mode. Okay, so we have no pitch here. And then we take all of this
[00:11:09] with double-click. Move it over here.
[00:11:16] Then we can modify the tenure. Oh, we need a sample and hold. There's a bit of
[00:11:29] glide everywhere.
[00:11:46] So what it does is we were placing here the lower fundamentals. And then when we
[00:12:10] run out of fundamentals here with the sixth one, we just replace it then with
[00:12:14] the top fundamentals from a saw. So that's the genius idea for the day.
[00:12:23] So this is, of course, way too fast. So we go down to maybe four and a chance
[00:12:36] module. So it's not triggering all the time.
[00:12:41] And then we do your maybe a slow ramp up. And then we again put this into FX
[00:12:54] processor, which is basically just a reverb or maybe a bunch of what's the
[00:13:02] name all past devices. Maybe we can create a new kind of reverb, but I could
[00:13:07] also just take the reverb from the last video this one here. Just take here the
[00:13:23] reverb probably here. This is also out of the. Yeah, I cannot just not only want to
[00:13:41] have this part here. This and this. Okay, let's copy it. Go back in here. Looks like
[00:13:52] this. Okay, let's see. This is connected. Input going that and then after this we
[00:14:01] go on that. Okay, got it. So we have this output here. Go in there. See all the sounds.
[00:14:31] (dramatic music)
[00:15:01] (dramatic music)
[00:15:04] Okay, the pitch is too high.
[00:15:07] It's actually not a problem,
[00:15:08] but we can maybe filter this with the low pass in.
[00:15:13] We also want to have the filter moving with the pitch.
[00:15:19] And maybe we go here one
[00:15:31] octave higher or one partial higher,
[00:15:34] which is instead of C3, we go to C4.
[00:15:39] Or we take an ratio knob and connect this.
[00:15:45] We can filter exactly at which point
[00:15:51] we want to cut the frequencies.
[00:16:01] (dramatic music)
[00:16:04] And we probably want to have a bit of pitch wobble.
[00:16:19] So I use the transpose here.
[00:16:22] And use a random, yeah, smooth.
[00:16:32] Hurt, bring it down, and bipolar, and slide.
[00:16:37] (dramatic music)
[00:16:41] That's actually, would be nice to have here a pitch input
[00:16:52] so you can see how the cycle looks like in different pitches,
[00:16:57] but we don't have it.
[00:17:01] (dramatic music)
[00:17:04] And here also problem is that we have sometimes multiple
[00:17:20] triggers very quickly, quickly one after the other.
[00:17:24] So we can say logic or math.
[00:17:30] So the output only when here the sequences down to zero,
[00:17:35] right?
[00:17:36] Second input is clear, so it's zero.
[00:17:41] So when this one here goes to zero,
[00:17:44] then gives, give out a trigger,
[00:17:46] then allow here this to happen.
[00:17:52] This makes sense here.
[00:17:57] We need to have a long delay because it's a feedback.
[00:18:00] Bring it down.
[00:18:03] So a trigger happens only when this kind of envelope here
[00:18:10] is at the low state or at the zero state.
[00:18:14] In between, it's not possible to retrigger.
[00:18:18] So it always needs to wait until the envelope settles down,
[00:18:24] or comes down, so we prevent kind of multiple triggers
[00:18:29] within one sequence.
[00:18:31] (dramatic music)
[00:18:34] You can hear the pitch wobble.
[00:18:47] (dramatic music)
[00:18:59] And here, maybe make this a bit stereo.
[00:19:04] (dramatic music)
[00:19:08] Here's the chorus also on here.
[00:19:29] (dramatic music)
[00:19:31] Nice.
[00:19:40] (dramatic music)
[00:19:42] So this is one effect.
[00:19:56] (dramatic music)
[00:19:59] (dramatic music)
[00:20:01] Let's try pitch shifter also here in the beginning.
[00:20:10] Pitch this down one octave.
[00:20:12] (dramatic music)
[00:20:15] Let's go to 45%.
[00:20:21] (dramatic music)
[00:20:29] (dramatic music)
[00:20:31] Should we use a frequency shifter?
[00:20:43] Maybe it's too much.
[00:20:45] (dramatic music)
[00:20:47] Um.
[00:20:53] (dramatic music)
[00:20:59] (dramatic music)
[00:21:01] You can hear the modulation.
[00:21:10] (dramatic music)
[00:21:12] (dramatic music)
[00:21:29] (dramatic music)
[00:21:31] Kind of sounds nice.
[00:21:39] Yeah, so we need to modulate this, obviously.
[00:21:42] (dramatic music)
[00:21:45] But also with a random modulator.
[00:21:47] (dramatic music)
[00:21:50] Not all the way up just to, I don't know, 98, 99.
[00:21:57] (dramatic music)
[00:22:01] 0.999.
[00:22:02] (dramatic music)
[00:22:05] That's maybe too much.
[00:22:12] (dramatic music)
[00:22:28] (dramatic music)
[00:22:31] So we have sometimes some kind of artifacts in the reverb.
[00:22:35] (dramatic music)
[00:22:38] (dramatic music)
[00:22:57] (dramatic music)
[00:23:00] Let's try and use here another delay, yeah?
[00:23:08] (dramatic music)
[00:23:10] Oh yeah, and we need them high and low pass.
[00:23:27] In the beginning.
[00:23:28] (dramatic music)
[00:23:32] Everything below 200 yards we don't want.
[00:23:34] (dramatic music)
[00:23:37] And the low pass, everything, maybe,
[00:23:41] to shoot above two kilohertz.
[00:23:44] (dramatic music)
[00:23:57] (dramatic music)
[00:24:00] It's already kind of complex, huh?
[00:24:07] (dramatic music)
[00:24:27] So, we filled out everything.
[00:24:29] (dramatic music)
[00:24:32] 80%.
[00:24:51] (dramatic music)
[00:24:57] (dramatic music)
[00:25:00] Now we maybe need an high pass.
[00:25:12] Looks like a bit there as an offset.
[00:25:16] (dramatic music)
[00:25:27] (dramatic music)
[00:25:29] (dramatic music)
[00:25:38] Okay, so let's try and use,
[00:25:52] what do we use, a wavetable?
[00:25:55] (dramatic music)
[00:25:58] And we,
[00:26:09] we don't want to use the sequencer.
[00:26:18] Or maybe use a pictures module
[00:26:25] to define some kind of melody here.
[00:26:27] (dramatic music)
[00:26:30] (keyboard clicking)
[00:26:55] (dramatic music)
[00:26:57] (keyboard clicking)
[00:27:02] Want to use unison?
[00:27:08] 80.
[00:27:12] (dramatic music)
[00:27:15] (keyboard clicking)
[00:27:20] (keyboard clicking)
[00:27:25] (dramatic music)
[00:27:27] (keyboard clicking)
[00:27:35] Want to use a scale and we want to use it the same.
[00:27:39] (dramatic music)
[00:27:55] (dramatic music)
[00:27:57] And to fill it down.
[00:28:10] (dramatic music)
[00:28:12] Yeah, we need to pitch.
[00:28:21] (dramatic music)
[00:28:26] (phone ringing)
[00:28:28] (dramatic music)
[00:28:31] (upbeat music)
[00:28:55] (upbeat music)
[00:28:57] We want to use the same reverb here.
[00:29:04] (dramatic music)
[00:29:06] (keyboard clicking)
[00:29:09] (dramatic music)
[00:29:12] (dramatic music)
[00:29:22] (upbeat music)
[00:29:25] Now the reverb is too much.
[00:29:38] Too much reverb.
[00:29:42] So we do a difference one here.
[00:29:45] (keyboard clicking)
[00:29:52] (dramatic music)
[00:29:55] (upbeat music)
[00:30:22] (upbeat music)
[00:30:25] (keyboard clicking)
[00:30:31] (keyboard clicking)
[00:30:36] (upbeat music)
[00:30:52] (upbeat music)
[00:30:55] Octave.
[00:31:06] (upbeat music)
[00:31:23] (upbeat music)
[00:31:26] And let's see if I can do something decent
[00:31:29] without using a calculator.
[00:31:31] (upbeat music)
[00:31:52] (upbeat music)
[00:31:55] Scale steps.
[00:32:11] Let's see how this sounds.
[00:32:13] (upbeat music)
[00:32:16] (keyboard clicking)
[00:32:22] (upbeat music)
[00:32:25] (keyboard clicking)
[00:32:38] (upbeat music)
[00:32:41] (keyboard clicking)
[00:32:44] (upbeat music)
[00:32:52] (upbeat music)
[00:32:55] (dramatic music)
[00:33:00] (keyboard clicking)
[00:33:13] (upbeat music)
[00:33:22] (upbeat music)
[00:33:25] (keyboard clicking)
[00:33:34] (upbeat music)
[00:33:52] (upbeat music)
[00:33:55] I try another pitch shift here.
[00:34:22] (upbeat music)
[00:34:25] (keyboard clicking)
[00:34:32] (upbeat music)
[00:34:35] (keyboard clicking)
[00:34:45] (upbeat music)
[00:34:52] (upbeat music)
[00:34:55] Now let's try out the chance module.
[00:35:15] (upbeat music)
[00:35:23] (keyboard clicking)
[00:35:26] (upbeat music)
[00:35:31] (keyboard clicking)
[00:35:42] (upbeat music)
[00:35:52] (upbeat music)
[00:35:55] Oh, maybe I use...
[00:36:10] (upbeat music)
[00:36:12] Everything again here.
[00:36:17] (upbeat music)
[00:36:23] Oh.
[00:36:24] (upbeat music)
[00:36:27] (upbeat music)
[00:36:29] (upbeat music)
[00:36:32] (upbeat music)
[00:36:34] (upbeat music)
[00:36:37] (upbeat music)
[00:36:40] (upbeat music)
[00:36:42] (upbeat music)
[00:36:45] (keyboard clicking)
[00:36:48] (upbeat music)
[00:36:49] Let's mute this for a moment.
[00:36:51] (upbeat music)
[00:36:53] (upbeat music)
[00:36:59] Oh, but it's always the same three notes, right?
[00:37:10] (upbeat music)
[00:37:21] (upbeat music)
[00:37:25] And I don't want to have this here.
[00:37:28] (upbeat music)
[00:37:30] (keyboard clicking)
[00:37:33] (upbeat music)
[00:37:36] (keyboard clicking)
[00:37:42] (upbeat music)
[00:37:52] (gentle music)
[00:38:21] (gentle music)
[00:38:23] (keyboard clicking)
[00:38:30] (gentle music)
[00:38:49] Maybe I'll use something different here.
[00:38:52] (keyboard clicking)
[00:38:55] (gentle music)
[00:39:02] And the byte is hard to control with the overtones.
[00:39:14] (gentle music)
[00:39:19] (gentle music)
[00:39:22] And I want to have you actually
[00:39:27] (gentle music)
[00:39:30] different pitches.
[00:39:31] (gentle music)
[00:39:34] (keyboard clicking)
[00:39:43] (gentle music)
[00:39:49] (gentle music)
[00:39:52] (keyboard clicking)
[00:39:55] (gentle music)
[00:39:57] (gentle music)
[00:40:00] (gentle music)
[00:40:02] (gentle music)
[00:40:05] (gentle music)
[00:40:08] It's nice overtones.
[00:40:10] (gentle music)
[00:40:12] (gentle music)
[00:40:15] (gentle music)
[00:40:17] (gentle music)
[00:40:20] (gentle music)
[00:40:23] This is the pulse modulation here.
[00:40:26] (gentle music)
[00:40:28] (gentle music)
[00:40:31] (gentle music)
[00:40:47] (gentle music)
[00:40:50] (gentle music)
[00:41:07] Interesting.
[00:41:11] Maybe I should use this byte also later
[00:41:14] way more in ambient.
[00:41:16] (gentle music)
[00:41:19] (gentle music)
[00:41:24] Yeah, let's bring ring modulation in there.
[00:41:27] (gentle music)
[00:41:30] (gentle music)
[00:41:37] (gentle music)
[00:41:40] (gentle music)
[00:41:46] (gentle music)
[00:42:16] (gentle music)
[00:42:19] (gentle music)
[00:42:24] (gentle music)
[00:42:27] (gentle music)
[00:42:29] (gentle music)
[00:42:31] This is actually bipolar.
[00:42:33] Yeah.
[00:42:34] (gentle music)
[00:42:37] (gentle music)
[00:42:39] (gentle music)
[00:42:42] (gentle music)
[00:42:45] That gives a nice sound.
[00:43:14] So this is more like the background here.
[00:43:29] I think we do the same here, but the logic.
[00:43:46] I need a bit of pitch wobble also here.
[00:44:15] We just use a delay.
[00:44:28] Yeah some people say I should use here these modulators on the device itself, but it always
[00:44:36] feels like a bit detached when I go outside of the grid.
[00:45:01] So I'm going to use this one.
[00:45:15] Okay, let me try and use the...
[00:45:44] Wowels., and then I'm going to use this one.
[00:46:14] Okay., so I'm going to use this one.
[00:46:30] Oh, we want to use the pitch.
[00:46:57] Okay., so I'm going to use this one.
[00:47:12] Why not, that's a bit more organic.
[00:47:42] Okay., so I'm going to use this one.
[00:47:59] And you want to randomize the attack phase.
[00:48:24] I mean, we could even randomize here this.
[00:48:52] And this.
[00:49:02] And this.
[00:49:12] Yeah.
[00:49:42] , so maybe pitch this even more down, this is not used, this used, no it's not used.
[00:50:10] Two octaves, so it's more like a base.
[00:50:28] Okay, why do I have two modulators there?
[00:50:55] Okay., so I'm going to use this one.
[00:51:17] Okay, so I'm going to use this one.
[00:51:45] Okay, so I'm going to use this one.
[00:52:04] Okay, so I'm going to use this one.
[00:52:23] Okay.
[00:52:24] Fifty-two minutes, so we have some high pitches in here, which I don't like.
[00:52:50] I have to collect, or I have to put this on the right places later on, oh god.
[00:53:11] The problem is I want to basically record everything just in one screen.
[00:53:27] Yeah, I liked it more.
[00:53:54] This way in the background, just as a nice background layer, and these Vocaloid vowels
[00:54:03] playing here.
[00:54:31] Okay, maybe I should use my, I'll pass it later on, or maybe not, maybe I just leave
[00:54:48] it at that.
[00:55:08] Let me see.
[00:55:12] What's the realistic size for that?
[00:55:16] I'll start in one corner and clean this up a bit.
[00:55:21] Oh, we don't need this.
[00:55:50] Do this with a Neural Rack, impossible.
[00:56:05] Maybe like this, this is the top corner, this is the bottom corner, like that.
[00:56:28] So we have a rough idea of where everything needs to go.
[00:56:53] Okay, I'll go ahead and do that.
[00:57:19] Okay, I'll go ahead and do that.
[00:57:45] So, we can put maybe the reverb down here, if there's a different color.
[00:58:12] Okay, like this.
[00:58:39] Okay, so we have a nice, nice, nice, nice, nice, nice.
[00:59:09] Okay, so we have a nice, nice, nice, nice, nice, nice.
[00:59:35] Okay, so we have a nice, nice, nice, nice, nice, nice, nice, nice.
[01:00:05] Okay, so we have a nice, nice, nice, nice, nice, nice, nice, nice, nice, nice, nice.
[01:00:32] There's always place for a Spectrum Analyzer.
[01:00:55] Okay, so we have a nice, nice, nice, nice, nice, nice, nice, nice.
[01:01:18] And actually make this bigger, like that.
[01:01:44] Okay.
[01:02:02] Next output.
[01:02:18] So, we have a nice, nice, nice, nice, nice, nice, nice, nice, nice.
[01:02:46] So, this shows more here, the Oscillator, the Overtones, this is a matter of the output
[01:03:03] here, what we get at the end.
[01:03:15] That fits in, nice.
[01:03:25] It's actually possible to give everything here, that the default color, not really, to give
[01:03:34] it a color.
[01:03:38] Now, once you give it a color, it's done.
[01:03:54] Okay.
[01:04:14] Let's use here another old one, this one's pretty big, huh?
[01:04:29] Oh, God, yeah, but it's pretty clean here with the, what is what, this is actually nicely
[01:04:41] done here by myself, there's a feedback system in there.
[01:04:59] Okay, why is the connection missing?
[01:05:23] Is there no connection here?
[01:05:31] Strange, it's actually not playing a noise.
[01:05:47] Okay.
[01:05:55] So, this is a nice, nice, nice, nice, nice, nice, nice, nice, nice, nice, nice, nice,
[01:06:22] nice, nice, nice, nice, nice, nice, nice, nice, nice, nice, nice.
[01:06:40] Now, let's bring this down to a 30 percent, so it does something, oh, 50 percent.
[01:07:08] That's very sci-fi.
[01:07:25] This cyberbunk, Blade Runner sounds.
[01:07:54] This is too loud.
[01:08:24] To be honest, I really like it, I love it already.
[01:08:31] Very sci-fi.
[01:08:55] So I want to get some kind of melody licks in there, actually I have to close this here,
[01:09:03] this is a lot of CPU.
[01:09:17] What do I use?
[01:09:34] I need to make a sequencer, because I want to have kind of repeating patterns, so I need
[01:09:44] to do this, and dice, let's use more.
[01:10:08] Maybe I should start in the beginning already with filling up the space, it's probably much
[01:10:14] easier than kind of do this in the end and post.
[01:10:30] Actually that's not what I want to do here, but trigger.
[01:10:46] But those are randomized here, all the dice modules, and I do an attenuate, quantizer,
[01:11:11] and we need...
[01:11:27] Okay.
[01:11:43] This is what we get out.
[01:12:10] And we need of course counter, we have 6, and this needs to go nearest interpolation,
[01:12:30] with different notes here, R and D.
[01:12:49] So this gets triggered, transport every 16 bars, we get a new sequence, random new sequence.
[01:13:17] Then we need an art at some point, amplifier, and maybe a V-U-MIDA, or we need the pitch
[01:13:32] of course, and we need to sample and hold in front.
[01:13:50] Oh, it's actually only 3 notes, okay, so we want to use also 1, 2, 3.
[01:14:16] Okay, so we need a different reverb here, so I probably need my...
[01:14:46] This thing here, NMS is, I don't know, 500?
[01:14:58] Maybe too long modules, go to 8.
[01:15:16] 10, 11, 12.
[01:15:39] Maybe more.
[01:15:56] Okay, so we need to do this.
[01:16:22] Okay, the turrets, pull-outs, okay, maybe put the delay later on here, and also some
[01:16:52] oh, we need the chorus of course.
[01:17:01] Into the chorus, the reverb, put this there, with another chorus, yeah, I really should
[01:17:16] start and do this from the beginning, this plugging here.
[01:17:30] Okay, so we have, what do we have here?
[01:17:43] 10, 2, 3, 4, 5, 6, so 18, 12, 18, wow, start with 6, maybe with 2, NMS 500, let's make
[01:18:10] it more diffuse, diffuse.
[01:18:20] So now I have to copy everything, oh god, put this here on my second screen, start with
[01:18:31] 2, but already sounds nice, but if you want to listen to this for
[01:19:01] I don't know, 2, 3, 4, 5, 6, 7, 8, 9 hours, also you have some of the chances I need to
[01:19:22] bring down over time.
[01:19:29] Some sounds playing way too often.
[01:19:36] Okay, nearly done.
[01:20:04] It's probably the most, most epic reverb ever.
[01:20:21] Okay, so now we have to go back to the chorus, and then we have to go back to the chorus.
[01:20:44] Okay, so now we have to go back to the chorus, and then we have to go back to the chorus.
[01:21:08] Now let's try how it sounds like with the delay, so this is reverb, let me go into a
[01:21:31] delay, or an echo, can we use maybe a second sine oscillator
[01:22:00] here, use the same pitch.
[01:22:13] And use this for the phase input.
[01:22:39] And we do the second one here, for the, it gets a bit more metallic.
[01:23:07] Oh, this is not connected here, why?
[01:23:36] Okay, so we have to go back to the chorus, and then we have to go back to the chorus.
[01:24:03] Okay, another LFO.
[01:24:20] Okay, so now we have to go back to the chorus, and then we have to go back to the chorus.
[01:24:43] Um, maybe 16 parts is too long.
[01:25:11] Okay, we have to transport here, maybe go to eight, so we do the same thing here, you
[01:25:37] have to go back to the chorus, and then we have to go back to the chorus, and then we
[01:26:07] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:26:34] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:26:57] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:27:02] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:27:15] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:27:28] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:27:41] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:27:52] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:28:18] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:28:44] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:28:48] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:29:09] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:29:27] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:29:39] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:30:06] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:30:25] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:30:34] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:31:00] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:31:01] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:31:08] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:31:36] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:31:59] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:32:03] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:32:18] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:32:35] go back to the chorus, and then we have to go back to the chorus, and then we have to
[01:32:51] go back to the chorus, and then we have to go back to the chorus, and then we have to go
[01:33:06] back to the chorus, and then we have to go back to the chorus, and then we have to go back
[01:33:19] to the chorus, and then we have to go back to the chorus, and then we have to go back to
[01:33:34] the chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:33:45] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:00] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:07] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:15] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:26] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:34] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:41] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:52] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:34:58] chorus, and then we have to go back to the chorus, and then we have to go back to the
[01:35:08] values, inside of a scale,
[01:35:38] , Pulse width modulation, very important.
[01:36:08] , okay, SVF, low pass,
[01:36:37] we also make this vocal thing a bit lower,
[01:36:51] lower, go to 5%,
[01:37:09] maybe it would be better to have the delay,
[01:37:39] okay, with the reverb, reverb gets from, okay, let's see, no, no, it's right, absolutely
[01:37:50] correct, okay, let me have this overtones, we copy this over,
[01:38:17] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:38:34] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:38:57] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:39:26] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:39:56] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:40:18] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:40:36] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:40:56] okay, let me have this over, okay, let me have this over, okay, let me have this over,
[01:41:09] okay, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:41:30] over, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:41:55] over, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:42:20] over, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:42:43] over, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:42:57] over, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:43:21] over, okay, let me have this over, okay, let me have this over, okay, let me have this
[01:43:39] over, okay, so we generate here a second value, we generate actually two nodes, and then we
[01:43:59] just crossfade the length, right, we just, yeah, and we crossfade between the two nodes,
[01:44:23] but the two nodes are actually in the scale.
[01:44:38] The band takes two bars, and now if this fits.
[01:45:03] Or, instead of using an LFO, we use this one, and we just crossfade the length, okay,
[01:45:32] we use this one here, so when it starts, it starts on a node and then it ends exactly
[01:45:38] on a node.
[01:45:54] I think I need to work a bit here on this.
[01:46:12] So this is the first, and you have the second one here, that one, and then we just crossfade
[01:46:37] it, basically three stages, or extract three stages from the reverb, so this one is pretty
[01:46:53] early on, so we get a nice fast response.
[01:47:11] Okay, so we have the second one here, and then we just crossfade it, and then we just crossfade.
[01:47:34] And then we just crossfade it, and then we just crossfade it, and then we just crossfade
[01:48:01] it, and then we just crossfade it, and then we just crossfade it, and then we just crossfade
[01:48:14] it.
[01:48:15] And then we just crossfade it, and then we just crossfade it, and then we just crossfade
[01:48:39] it.
[01:48:40] Damn it, that's better.
[01:49:07] And a chance needs to go down.
[01:49:10] Okay.
[01:49:40] Okay, I think that's much better.
[01:50:09] Okay, let's see how it looks like in the big picture, damn.
[01:50:29] Now maybe we create a big, big bass.
[01:50:43] So we do here a bass with a saw.
[01:51:04] We need a dies, we need a pitch quantizer, to bring the octave down.
[01:51:33] It can be three, or to trigger it, or maybe we use a transport to make it even slower.
[01:51:52] One bar, two bar triggers.
[01:52:02] For every two bars, we have a trigger.
[01:52:05] Then we have a stereo width, we could mono, because we make it to your stereo and to tune
[01:52:13] it.
[01:52:15] Use a MOOC filter.
[01:52:23] Same pitch.
[01:52:29] Let's use a VU meter here.
[01:52:40] Makes no sense, there's always a signal, but anyway.
[01:52:59] Bring this down, it's too loud.
[01:53:08] This nice pulse lead in the background, love it.
[01:53:16] Also we have a base filter here, MOOC filter, and an audio out.
[01:53:30] It's nicely beating.
[01:53:50] That's the wrong scale.
[01:54:07] That's the wrong scale.
[01:54:25] So we have a phase here, so we can use an LFO.
[01:54:48] We have this LFO with the phase, and then it should give you a nice LFO back exactly
[01:55:15] in this phase.
[01:55:22] That's the wrong scale.
[01:55:49] Yeah, because it's not zero, I can get it.
[01:56:02] I want to have more the loud part than the quiet part.
[01:56:27] Yeah, it's a spin up.
[01:56:45] Yeah, it's a spin up.
[01:57:01] And you can use this for...
[01:57:25] Okay, I need to make it longer, 8 bars.
[01:57:54] And then this modulation amount needs to be randomized.
[01:58:05] So we use the dies, so modulator, and then we have here the cutoff, and this is how much
[01:58:20] we modulate this here as decided by this dies.
[01:58:50] , and we can also randomize here the beating frequency.
[01:59:08] All right, let's use one.
[01:59:33] Okay, so we have here the cutoff, and then we have here the cutoff, and then we have here the cutoff.
[01:59:57] Maybe you can add another filter, as we have notch.
[02:00:25] And not remove the fundamental, of course.
[02:00:36] Right, something like this.
[02:00:57] The notch, this is the low pass.
[02:01:13] We can decide on which overtone, or partial, the filter cut.
[02:01:31] Okay, we have here the cutoff, and we have here the cutoff, and then we have here the cutoff,
[02:01:48] and we have here the cutoff, and then we have here the cutoff, and we have here the cutoff,
[02:02:16] and this we also, the fastest one is 1/8th note, quarter note.
[02:02:45] We could do also here a trick with the pitch band.
[02:03:09] Maybe we try a bit of distortion, or maybe distortion in front.
[02:03:30] So we have a bit more overtones.
[02:03:48] Okay, how do we do this with the pitch band?
[02:04:16] Maybe I want to have a static bass, but at the end of the sequence, when the bass stops
[02:04:21] playing, I want to pitch down.
[02:04:47] Okay, we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:05:15] and we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:05:35] and we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:06:01] and we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:06:14] and we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:06:32] and we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:06:50] and we have here the cutoff, and we have here the cutoff, and we have here the cutoff,
[02:07:14] and maybe I only want to pitch down, to subtract, so I get the old pitch, and subtract it from
[02:07:40] the random value, so it's always lower, you know what I mean, so this is here, and then
[02:07:57] we end up here, and it's a bit too low, hmmm.
[02:08:23] It's very low, we need an high pass here, 20 hertz, 20 hertz,
[02:08:52] or 30 hertz, yeah we don't need to pitch this down now, that's too much then.
[02:09:19] Yes, we need to use this one here, that's better, okay, so then we have here the cutoff,
[02:09:49] we have this transport here, so we take this, we need to see what's happening, okay, so
[02:10:19] that's 8 bars, yeah, okay, so then we have here the cutoff, and we have here the cutoff,
[02:10:49] yeah, you can't hear it, because it fades out, a little bit beforehand, okay, so then
[02:11:17] we have here the cutoff, okay, so then we have here the cutoff, and we have here the
[02:11:44] band is too long.
[02:11:54] How can I shape it so it makes more sense?
[02:12:14] I mean it's okay, it's not bad, it's not really, not really audible in the end, because the
[02:12:23] volume goes down, hmm, okay, so then we have here the cutoff, and we have here the cutoff,
[02:12:40] okay, so then we have here the cutoff, okay, so then we have here the cutoff, okay, so
[02:13:05] then we have here the cutoff, okay, so then we have here the cutoff, okay, so then we
[02:13:23] have here the cutoff, okay, so then we have here the cutoff, okay, so then we have here
[02:13:40] the cutoff, okay, so then we have here the cutoff, okay, so then we have here the cutoff,
[02:13:58] okay, so sometimes here the chance module, right, I have this on 2%, but it plays all
[02:14:18] the time, again, you can see sometimes three times one after the other, so something is
[02:14:32] wrong with the randomization a bit bigger in my opinion, so this is not 2% chance, okay,
[02:14:48] maybe it's time for...
[02:15:19] so it plays a lot, could bring this down to 1% maybe,
[02:15:48] , okay, so
[02:16:18] so can we add a bit of noise, a bit of rain,
[02:16:49] I probably should save this before I go into more adventures,
[02:17:19] I have no name yet,
[02:17:49] so
[02:18:00] what is happening,
[02:18:16] I mean it's really nice to combine these patches sometimes,
[02:18:43] yeah I just do something a bit with noise here in the corner,
[02:19:14] and maybe also the bass should not play all the time,
[02:19:43] so
[02:19:53] use an LFO
[02:19:55] or maybe a random LFO,
[02:20:01] and it plays very slow,
[02:20:14] so
[02:20:25] yeah we just modulate here the filter
[02:20:40] I don't know 16 bars
[02:21:11] so we limit the bass here to the fundamental notes in the scale
[02:21:40] yeah it kind of sounds okay, so I don't want to, I don't want to get rid of the bass entirely,
[02:22:00] I just want to have it not playing all the time, sometimes it just goes away and sometimes
[02:22:05] comes back in and so on
[02:22:35] ,
[02:23:05] ,
[02:23:15] so
[02:23:35] ,
[02:23:49] so
[02:24:05] ,
[02:24:15] so
[02:24:35] ,
[02:24:47] hmm
[02:25:05] so,
[02:25:35] ,
[02:25:43] so,
[02:26:05] ,
[02:26:17] so,
[02:26:35] so,
[02:27:05] ,
[02:27:13] so,
[02:27:35] so,
[02:28:05] so,
[02:28:13] oh no that's better
[02:28:35] so,
[02:29:05] so,
[02:29:35] ,
[02:29:43] so,
[02:30:05] so,
[02:30:35] so,
[02:31:05] so,
[02:31:13] maybe a delay,
[02:31:35] before we go out,
[02:31:45] and trigger,
[02:31:59] the dice, and the lag,
[02:32:29] ,
[02:32:41] so,
[02:32:59] ,
[02:33:07] so,
[02:33:30] so,
[02:33:37] maybe I put a chance down, maybe that's better
[02:33:59] so,
[02:34:29] ,
[02:34:37] so,
[02:35:00] so,
[02:35:29] ,
[02:35:33] so,
[02:35:59] so,
[02:36:11] okay, maybe I saved this again,
[02:36:30] bring this down,
[02:36:41] and I would say some of the reverbs are too long for some of the sounds, but it's very hard to manage,
[02:36:58] I need to redo all these delay times here,
[02:37:10] okay, we could try one,
[02:37:14] one trick,
[02:37:22] can try and use the wavetable oscillator here,
[02:37:30] and then use the bass frequency here,
[02:37:36] maybe try to make some kind of over tone for the bass,
[02:37:53] I felt that this a bit,
[02:38:06] oh,
[02:38:23] maybe an octave shift,
[02:38:53] and here we do some kind of custom,
[02:38:58] custom reverb,
[02:39:22] so,
[02:39:53] okay, I need to make this longer,
[02:40:22] so,
[02:40:53] it's always in pitch with the with the bass,
[02:40:58] and you pitch this down,
[02:41:20] okay, where's the pitch bend,
[02:41:30] and when you pitch it down,
[02:41:33] we open the filter up, bring it the tenuate in,
[02:41:53] kind of,
[02:42:04] um, slope,
[02:42:34] okay,
[02:42:45] maybe two octaves higher, I don't know,
[02:43:04] okay,
[02:43:33] okay, so a bit of randomization, dies,
[02:43:38] later, and just decides on which octave we start,
[02:43:50] of course, completely lost control,
[02:44:06] no idea what I'm doing, oh, this is the bass, okay,
[02:44:22] so the octave then is randomized,
[02:44:37] okay,
[02:44:42] so what they have here, one, two, three, four,
[02:44:55] five hundred,
[02:44:59] four modules,
[02:45:06] so, the first one is two, two milliseconds,
[02:45:18] and five hundred,
[02:45:36] okay,
[02:45:42] and if you hear something, it's also decided by
[02:45:48] this random trigger here, if we have a lead sound on top,
[02:45:53] is also random,
[02:46:07] I think it's this one, every 32 bars,
[02:46:15] oh no, no, just this one, every eight bars,
[02:46:40] yeah, and we need to go in here,
[02:46:58] very complicated,
[02:47:28] so now we have a sound,
[02:47:58] ,
[02:48:12] okay, the pitch mod here is a bit too much,
[02:48:28] let's move to here, bam, done, I think that's it,
[02:48:59] it already becomes, to become laggy,
[02:49:04] bam, I probably fill up here the space with some,
[02:49:17] some empty labels,
[02:49:47] okay,
[02:50:10] done, okay, some post effects, let's tame the beast,
[02:50:40] okay,
[02:50:52] not that people already complain that something clipping,
[02:51:10] let it run for a while,
[02:51:24] um, I stopped the recording here, I probably tweak some knobs and then I record again the video
[02:51:37] for my music channel, and then, yeah, call it a day, thanks for watching, see you next time.