Tags: posts polarity-music Bitwig Melodic-Techno Sound-Design Tutorial Track from Scratch

Producing Melodic Techno/House in Bitwig Studio

Tutorial | Tue Oct 26 2021 00:00:00 GMT+0000 (Coordinated Universal Time)

In this video, I produce a melodic techno or melodic house tune inside Bitwig Studio. I start from zero with no idea what to do and end up with a track that is 7 minutes long. I use a variety of techniques such as automation, modulation, sound design, mixing, arranging, and keeping the sequence interesting. I show how to create a root drone, how to use an instrument, how to apply audio effects, and how to use a step modulator. I also demonstrate how to use an LFO, an EQ, and a reverb device.

You can watch the Video on Youtube - support me on Patreon

Questions & Answers

Maybe you dont watch the video, here are some important takeaways:

What is the best way to start a project in Bitwig Studio?

The best way to start a project in Bitwig Studio is to begin with creating a root drone. This is done by taking the easy route and creating one sound on one key, playing the root note of the scale which you choose for the track. To do this, you can use the clip launcher by double clicking on a new clip and looping it. You can then open up the piano window, piano roll and double click to insert one note. To add an instrument, you can click the small plus button and search for a Polysynth.

How can you make a root drone sound better?

To make a root drone sound better, you can tweak the amplitude, release time, attack time and filter, as well as increase the unison to 16 voices and add detuning to give it a hoover effect. You can also add modulators to the instrument, such as random modulators, LFOs, step modulators and oscillators. Additionally, you can apply audio effects such as reverb, EQ and delay to blur out the sound and give it more depth.


This is what im talking about in this video. The text is transcribed by AI, so it might not be perfect. If you find any mistakes, please let me know.
You can also click on the timestamps to jump to the right part of the video, which should be helpful.

[00:00.000] Welcome back to another video, today it's a 2 hour long video of me producing a melodic
[00:22.700] techno or melodic house tune inside Bitwig Studio I start from zero but no idea what to do
[00:30.860] and end up with a track that is 7 minutes long and is probably okay to upload on soundcloud.
[00:39.500] There's a lot of stuff in there automation, modulation, sound design, mixing, arranging,
[00:45.260] keeping sequence interesting.
[00:47.740] A lot of different topics, I probably left out a lot of basic information here and there
[00:53.940] maybe keep asking questions in the comments, I try to make maybe another video and put
[00:59.380] in all the missing stuff then in the new video.
[01:03.940] So yeah, have fun watching this video and see you then in Bitwig Studio.
[01:09.660] When you usually start Bitwig Studio it looks like this here and we can start a new project
[01:17.380] here by clicking on new project, I mean it makes sense.
[01:23.020] So we have here a clip launcher, we have an arrangement window here, we have some samples
[01:27.140] on the right, we have the device chain here, we have the inspector on the left and yeah
[01:34.180] we have also the clip launcher and we have an instrument track here in an audio track.
[01:39.540] So I would say we start by taking the easy route and creating some kind of root drone
[01:52.220] which is just one sound on one key, playing the root note of the scale which we are choosing
[01:58.980] for the track.
[01:59.980] I would say we choose A minor because it's pretty easy on the keyboard, it's all the
[02:04.580] white keys when you start on A and what I mean by that is just playing one note and I'm
[02:13.780] using here the clip launcher for that because we want to play the root drone throughout
[02:21.060] the track from start to finish so we need an endless loop and with the clip launcher
[02:25.580] you are just defined by double clicking here a new clip and this one loops as you can
[02:31.140] see on the inspector, it's looping on and it loops until you hit stop, right?
[02:37.860] If you use the arranger here we can insert here one clip and we have to constantly extend
[02:44.900] the clip here when we change the length of the song.
[02:49.340] So for the start I would say just use here the clip launcher and we can just paint in
[02:53.900] here by double click on this clip, we open up here the piano window, piano roll and we
[03:00.460] just can paint in here one note also by double clicking here on A, you can zoom here by
[03:07.740] click and drag on the side and at the top here, yeah we just double click here and insert
[03:15.500] one note and I'm using here A like I said this is the root note of our track and we just
[03:22.940] paint in a pretty long note here exactly as long as the clip is we can also extend the
[03:32.300] clip here by dragging this over so we have now two bars you can see now here the note
[03:38.780] is just going through the half of the clip but we can also right click here on this clip
[03:46.700] and say double content or scale 200% which just makes this whole clip double as long or
[03:54.580] twice as long and also the note in it and also click here right click and use double
[04:01.740] content which creates a double content and yeah clones this one note here but it's not
[04:10.700] what we want we want to scale by 200% so we have now here a clip which goes one
[04:16.620] to three four bars long and there's one note in it and because we have now one long note
[04:24.220] here or that's the last note we basically created we can now double click here on E and
[04:32.860] creates one note exactly the perfect fifth above the root note which is usually one two three
[04:44.220] four five six seven notes up and we can also use your maybe again also the A the key of A one
[04:55.020] octave higher it's just you know the same note just one octave above the A2 E which is A3
[05:04.220] and you can also switch between the octaves here by selecting one note and using the keyboard
[05:10.620] by holding shift and key up and key down you can you know switch between different octaves
[05:18.620] you want to create this fast and you don't want to use the mouse for this so now we have three
[05:26.700] notes here which is the root key and the perfect fifth and what we need to do now is of course
[05:33.020] to use an instrument so we have the notes here by double clicking on the clip and we can also
[05:41.180] double click here on the track itself which just opens up opens up here the device chain and closes
[05:47.820] the piano roll you can switch between the two here and now we insert here some kind of instrument
[05:54.700] by clicking this small plus button and I'm usually going for the Poly since I'm typing
[06:01.180] in your Poly and choose Polysynth and this is an internal Bitwig synth subtractive synth and
[06:09.420] when we hit play on this clip here so we can hear the note playing on this instrument it doesn't
[06:20.700] sound very nice but we will tune that you can also see the transport here is still playing
[06:26.860] and it's exceeding here our loop range so we hit here the loop buttons we are staying within
[06:35.020] this range and we loop basically this region here when we hit play so it's it's probably also
[06:43.100] exactly the time frame we want to use for our first draft basically the main theme of our tracks
[06:53.980] we construct within this region of 8 bars here our first draft how this how the main loop should
[07:02.220] sound how the song sounds and everything else is basically just an alternation sometimes that
[07:10.140] there are instruments coming added to the track or sometimes we remove certain tracks but the
[07:18.460] main loop stays the same basically throughout the track so we are having here a region of 8 bars
[07:25.900] and we construct our tracks so the first one is here the root or the root drone and we can also
[07:31.900] rename this here by hitting control and R and rename this here to root drone or you can click
[07:42.940] just here the channel and rename it here in the inspector on the left top left and also call it
[07:50.860] root pad it doesn't matter so now let's play and tweak the sound what we need to do to make it
[07:58.940] sound better is probably we want to change the amplitude a bit release time and attack time
[08:04.700] for the amplitude maybe we want to close down here the filter which is a low pass filter maybe go
[08:12.460] down to the resonance a bit we also want to increase from the first oscillator here the unison
[08:17.420] I go most of the times up to 16 voices at the same time so every note now is represented by 16
[08:26.620] voices playing the same note and we can add here some bit of detuning which changes the
[08:34.780] pitch of each of these 16 voices differently slightly a bit so we have some kind of hoover effect
[08:43.980] and let's listen to this maybe make it wider here
[08:53.980] so I want a smooth transition between the end and the start so it sounds like a continuously
[09:10.060] drone sound
[09:15.900] this is much better so maybe we can also add here some modulations with just a special
[09:21.660] specialty of Bitwig studio when you click the small little icon here in the top bottom corner
[09:29.180] we bring up here the modulator section and we can add by clicking on this plus button here
[09:36.700] yeah browser window where we can select multiple oscillators and I'm using here
[09:43.100] most of the time a random modulator so I'm searching for a rant
[09:46.140] and you can insert this here or just testing how it sounds here by just one time clicking it
[09:53.500] and also click ok so it's applied to the instrument here you can click on the modulator we can open
[10:00.140] up here some parameters and I want to modulate here a bit maybe the cutoff
[10:16.780] and I'll see it's opening the filter here exactly how the modulator behaves
[10:21.100] so it's a bit stepped or quantized so I'm switching here to smoothness up to 100% so now it's a nice
[10:32.380] continuously opening and closing of the filter and you can also see it's also opening just here
[10:41.340] in a positive phase so it's the initial value we dialed in and then it adds modulation here into the
[10:50.540] positive range so we can change this by switching bipolar on and now we can we go also in the negative
[11:00.140] range so it's modulating around our initial value in both directions which is nice so now we
[11:14.700] modulated this cutoff here we can also modulate maybe the pitch of the whole synth here with the
[11:20.860] pitch knob so I usually dial in here up to plus 0.2 which is for me it's kind of the limit where it
[11:33.340] starts to sound too wonky so when you dial in here 50 for instance you know it becomes way to
[11:40.780] this harmonic but this is the root pad or the root drone and in my opinion it should be sound
[11:48.940] pretty stable so 20 is exactly the limit for that but now the problem is this one modulator
[11:59.420] modulates the cutoff and the pitch in the same manner so it's so when it opens up the cutoff
[12:05.900] it also pitches up at the same amount in the same time it's basically the same pattern so what I
[12:14.220] usually do is I just use a different modulator for a different parameter so what I do now is here
[12:22.300] right click and use duplicate or what you also can do is just selector the modulator and use
[12:29.260] control and d duplicate now we have two modulators but these two have different seats which means they
[12:38.780] modulate in a different kind of way it's still random but they what it's differently random so
[12:45.020] now we can use the second modulator here I modulate the pitch by plus 20 now you can see
[12:56.460] it pays differently when the cutoff opens sometimes the pitches in the negative range when the
[13:03.020] cutoff is open sometimes it's in the positive range so it's a different pattern a different seat
[13:10.060] so maybe I'll go to 20 and yeah maybe you can also use a third one
[13:18.620] or with the oscillator here so it frecons modulates here the cutoff which sounds nice
[13:33.900] maybe you can also hear at another one but the unison change
[13:39.660] so it becomes like a living organism of modulations
[13:43.900] we can also bring in here the second oscillator which is at the moment you're just a pulse wave
[13:52.940] maybe you can change this to a saw bring up the unison maybe mix in here the pulse a bit and then
[14:02.060] now we can fade between oscillator one and two maybe we can also use a modulator for this
[14:11.580] or maybe we use here in an LFO so there are three different LFOs there of all kinds of different
[14:20.380] parameters for instance the LFO one here has options for a pitch which means when you press
[14:29.820] the key on the keyboard it exactly uses the frequency of this key to modulate so this can be
[14:37.580] interesting so let's use this so when we put in here A we have probably 440 hertz here playing
[14:43.980] this oscillator and we can modulate all your modulator all your rate modulators something
[14:53.980] and because all of these modulators here are polyphonic so you can activate here now we have
[15:00.220] three of these LFOs for each voice because we have three nodes here one two three and this one
[15:08.300] is probably the voice where we have a modulator playing with you can now see we have multiple dots
[15:14.780] here playing because we have three nodes playing so each of these nodes gets its own LFO modulating in
[15:21.980] a different speed or the same parameter which can sound nice let's stick with this
[15:37.980] you can also use maybe a step modulator and the step modulator is just positive and negative
[15:44.700] range here and as you can see you can just paint in your random things and then modulate something
[15:51.100] with this and I usually use this to get some kind of a sequence feel to a sound so it's every time
[16:02.780] the same sequence playing over and over again and then you get the kind of rhythm into a sound
[16:08.860] so I'm trying to explain this here I'll show you this
[16:11.340] maybe you can just push here the random randomize button
[16:23.340] it's also pretty stepped but you can bring up your smoothing so it interpolates between the steps so
[16:30.940] it's more like a smooth transition maybe go down here to five steps so I usually use uneven
[16:44.700] steps here for multiple step modulators to get kind of an polyrhythmic feel
[16:49.900] maybe we switch up between
[16:57.180] maybe change the speech to eight nodes
[17:16.780] maybe this is a bit too much here
[17:18.460] okay so now that we have your lot of modulators changing the sound we can also apply some audio
[17:32.060] effects of course here and fxbox for instance let's add the reverb and the benefit of using
[17:42.460] the reverb device here inside the fxbox is that you can now save the polycent as a preset right
[17:51.100] click on it save preset and we save all the devices inside the fxbox with the preset so every time
[17:59.900] we recall this preset of the polycent you can also get all the audio effects you add here with the
[18:05.980] preset you can also of course move the reverb here out of the of the polycent if you don't want to
[18:14.540] and can save gen now polycent without the reverb so every time we recall this preset you have
[18:20.780] basically just a tri sound though the benefit of these fxboxes is that you can save
[18:26.540] devices together with the other device so you can combine devices and save it as a reset so let's
[18:36.620] move this in here there's also a node fxbox here which means every node you send from the piano
[18:46.700] roll or from the keyboard gets processed in here so you can say maybe add a pitch node effect
[18:53.260] node pitch fxbox and you can say every node I'm getting here from the piano roll I want to pitch up
[18:58.780] by exactly one octave or one octave lower so you can modify MIDI notes before they reach the instrument
[19:12.460] which can be interesting of course so let's add this reverb here
[19:16.780] just to blur out the sound a bit what we also can add here is an EQ a small EQ2 we have different
[19:30.300] EQ's here in Bitwig but this um purposely I'm just using EQ2 because I need only two bands to
[19:37.260] cut the low end a bit in the high end just to you know focus the sound on a frequency range
[19:55.660] maybe gonna gonna add here some delay I'm using delay too it's also a Bitwig internal effect
[20:03.580] we can change here um how many steps we want to delay something you can add the feedback here
[20:10.460] the tune the the tabs the delay tabs
[20:17.820] I've also here a high pass and low pass
[20:20.460] okay so this is our first sound we have three notes we have your
[20:48.620] pollution playing a sound heavily modulated we have some fx fx sounds on it fx devices on it
[20:56.780] and I think that's okay for the first track to can see at the level is pretty low we are not even touching
[21:04.940] the red or the yellow region which is okay
[21:09.660] because this sound is more like for the background to give the feel of the a minor scale
[21:29.420] so now the second part here we can delete the audio track
[21:32.300] and maybe add some bass to it so we add here we use this plus button and we can just add
[21:42.060] the instruments straight away and maybe we use the bass 4 which is a face distortion synthesizer
[21:50.780] and it works like this that you have here multiple operators which are just oscillators
[21:55.100] and you can mix these oscillators in here by using this small volume knob so for this sound
[22:02.860] I'm using just oscillator 1 which is just a saw maybe you switch it here to sign
[22:10.300] and then we can load lay down here again some notes double click the clip
[22:16.300] and maybe we go for an a to make it super simple here maybe a
[22:21.660] let's do higher maybe it does
[22:36.060] does double click so it's a super simple sequence but we also can do is we just
[22:43.100] use your one note
[22:44.060] and then in front of the face for we use an arpeggiator
[22:55.740] which basically does the same so we get one note in and this is then
[23:02.460] dissected into multiple different notes where we can change the speed
[23:08.780] maybe change the sound we need some overtones
[23:10.940] so let's bring this in so we have only one oscillator active playing a sign
[23:23.020] but we can also mix in here or frequency modulate the first operator here with the second one B
[23:31.500] so we can change here the ratio the
[23:33.500] frequency ratio of the second one and bring this in or frequency modulate with the operator 2 operator 1
[23:47.180] you can also use the frequency envelope to modulate the mixing
[23:53.260] what I usually like to do is use operator Y here to mix the output of operator Y to itself
[24:12.060] so it's yellow mixing back to yellow which produces noise
[24:15.980] and then we just mix this in here into operator 1
[24:26.540] or maybe bring it slightly in or mix it here to operator Y B
[24:36.700] something like this
[24:37.500] and also make it stereo so the noise operator here is mixing in to B
[24:46.940] and B is frequency modulating operator R and this one is outputting Audi or all the other
[24:53.660] operators are just there to modulate operator R basically
[25:01.020] what you also can do is click the device here itself go to the inspector and say we only
[25:05.660] want to have this monophonic so this isn't always just place one node at a time
[25:11.100] we can reduce the voices here to mono so now you can dial up here the release time
[25:18.060] of the phase 4 and they don't overlap it's not possible because we have a monophonic
[25:24.300] synth now and these sounds are never overlapping maybe you can also detune your operator B a bit
[25:43.740] you bring this up to zero here so now we have this we can also bring in here some
[25:57.740] modifications to the notes we can pitch it up here by seven semitones which is also a perfect
[26:05.980] fifth maybe twelve semitones also which is one of the fire
[26:23.340] okay the sounds already pretty driving what we do now is adding a kick drum and I usually go
[26:33.420] for the e kick in bitwicks or we just hit the plus button again this e kick
[26:42.220] also add here a new clip and we just add a node and it doesn't matter which node you're used
[26:48.220] here or which octave because it's not dependent on the frequency or this kick synthesizer basic
[26:55.500] dust accept pitch information at all and we can make the clip pretty short just one part because
[27:04.940] we want to loop over just one part having one kick in there and maybe hit play here
[27:14.140] can hear we have in our nice rhythm running we dial in here some frequency changes we go for
[27:21.660] g zero which is the node g zero and you can type in the notes in between most most of the devices
[27:31.500] maybe bring down at the volume a bit you can also say the pitch mods should start at
[27:38.380] 19 semitones above the wood node which is g zero here
[27:52.140] they bring at the decay of the pitch mod a bit up
[28:00.700] bring up the click a bit now we have kick drum here and we add in the fx box here in a q
[28:06.940] EQ plus or you can also use an EQ 5 if you use the 16 track version
[28:14.780] it doesn't matter that much maybe cut you the low low end a bit amplify frequencies around
[28:23.740] one of the hertz together in no the knock maybe find here some nice frequencies you like to amplify
[28:42.380] maybe we add to also a peak limiter at the end we limit here the
[28:46.140] um the amplitude a bit maybe pull down the inputs we don't limit too much
[29:00.380] okay so now we have a join here it's maybe too loud
[29:05.580] maybe down to minus 5 maybe minus 5 sorry
[29:09.500] jump and come through from time to time um we have this bass line here which also sounds nice
[29:18.700] so now we can use side-shading to duck the bass here when the kick drum plays so
[29:25.580] you can see we have the bass drum or the bass sound running all the time and maybe the kick drum
[29:32.380] interferences with the bass too much so we want to duck down or reduce the amplitude of the bass
[29:42.220] every time the kick drum plays and we can use this or make this happen able to
[29:47.020] side-chain modulator so we add the modulator it's exactly like what we used to the LFO
[29:52.620] and the random modulator we're using a node side-chain and with the node sage side-chain we can choose
[29:59.580] here the nodes from the e-kick
[30:06.620] that's a bug we have here now the kick drum
[30:15.900] and we change here the envelope from the kick drum and now we can use this signal here we are
[30:22.140] generating from the nodes of the kick drum inside the node side-chain and modulate here the
[30:29.180] volume of the bass for so every time the kick drum plays we kind of mute the sound of the bass
[30:41.020] it can change of course how much you want to amplify this effect
[30:45.820] so this should be nice we should be fine so now we can hear the kick drum
[30:59.660] pretty clearly through the bass just exactly what we want
[31:05.820] okay so the next thing is probably adding some hi-hats when we can use some samples maybe
[31:22.460] um maybe you have some hi-hat samples on the on your hard drive
[31:28.940] and you can for instance use your drum machine there's different slots and you can just select your
[31:40.140] multiple hi-hat samples I would shift and click and then track them over here into the cells
[31:47.660] and now we can yeah play them with with some notes here on the in a note clip
[31:57.580] maybe it's a gel and open hi-hat something like this
[32:18.140] so we can go into each cell and each cell has a sample and we can change the amplitude of each
[32:31.260] uh sample i am maybe this one is too loud to do one
[33:01.500] so this should be okay and now we can dial in here with the play button when you push on the
[33:16.860] play button you can dial in a global roof or shuffle maybe dial it down a bit
[33:33.660] maybe change it with maybe it's time to introduce some melodies right so on now we just have to
[33:53.660] play uh the root key and um perfect fifth with the pads maybe bring in some uh some some melody lines
[34:04.300] we're using it pull your synth again and maybe add some reverb the end here
[34:12.860] bring up pause unison bring down the add off here and then a bit of the envelope for the filter
[34:21.820] and the amplitude let's see
[34:40.780] so this is just an a
[34:42.380] maybe we make this here twice as long
[35:13.100] just to tease some kind of melody
[35:28.540] maybe also add your random modulator like like we did it before with the pad
[35:32.220] maybe you also use your pulse
[35:45.180] make you
[36:00.380] just removing it the low end a bit
[36:02.060] so now we have this with a bass we have some melody bits here in there some hi-hats
[36:16.140] the kick drum which is probably the most important thing in our track here
[36:22.940] at the master we maybe can insert your peak limiter chest to be safe
[36:26.700] but it's not like um that we need it it's just yeah maybe for the tutorial so i don't exceed the
[36:33.020] the loudness so maybe we introduce another um some melody bit maybe also pull your synth here
[36:54.780] but this time we play some kind of chord so you use an a perfect fifth maybe and this one here
[37:05.500] is the minor third and maybe everything one of lower so we like this just um solo here this so we
[37:16.540] can hear what's going on maybe bring down it uh got off
[37:25.500] so feel like this maybe also reverb on this
[37:38.700] and the delay of course
[37:53.900] and we go to C2 and then we can use your the um
[38:09.980] tracking 1% because every time you switch to a C note here it's it opens up the filter exactly
[38:19.020] in the right frequency of your notes
[38:32.060] so we get some nice dubby depth here
[38:35.100] maybe not exactly in the first note maybe a better off beat
[39:05.500] maybe your the melody bits are playing too much too often so we double content
[39:16.380] i think we make the more delays here on the melody bits
[39:47.180] okay maybe we modulate you also the um these dubby steps with the random modulator
[40:10.780] so it changes a bit every time
[40:25.260] okay so the bass we can rename the bass and you can also tweak the epiturator to maybe not play too
[40:32.540] fast
[40:41.100] Maybe it's on the old drive here.
[41:02.820] This is also something you have when you switch to dotted and be a nice effect.
[41:32.380] What's some notes?
[41:54.100] It's all about tweaking the right volumes to all these tracks to get the right feel.
[42:10.100] So we have hi-hats, we have the root pad, we have a kick drum, we have a melody and
[42:34.340] we have some chords, we can put all of this into a groove and call it maybe music, also
[42:51.660] the root patch here maybe.
[42:55.460] And then we can solo this and also mute it.
[42:58.500] So we have the bass separated and the kick, just something we might compress harder than
[43:06.060] the rest.
[43:12.940] So we can put on this bass here at first the peak limiter just to make sure we don't exceed
[43:19.900] here 0 dB and then we can use the tool device, also add here notes like chain, add here
[43:32.980] the kick drum as an input and just also duck the volume here of the whole music bass.
[43:48.420] And you also add here EQ to the bass because the low end is coming mostly from the bass
[44:01.700] and the kick so we can put out the low end here from the ads and chords.
[44:30.220] Okay, so now it's time to save you the whole project to some name, dubby, tutorial.
[44:59.780] Just save it and maybe you can also use the hi-ads here out of the music and put it
[45:10.060] over here and group the kick and the hi-ads together and call it drums.
[45:16.860] Then we have the bass and the drums and we group the bass and the drums together with
[45:20.500] controller G also here and call it drum and bass, so now drum bass and we have music and
[45:30.020] still works.
[45:49.620] So maybe we can introduce your second clip for the bass and maybe make some kind of alteration
[45:56.580] so we play in just here the root note, maybe we play the perfect fifth, let's see, this
[46:07.900] one and then back to the root note.
[46:36.420] Maybe this, let's try this, okay, so now that we have this we can also maybe try out
[46:58.260] here and add another bullet synth but this time we don't paint in any notes, we get
[47:05.180] it a note receiver and we crap notes from this bass track here, so we go to D&B bass.
[47:14.500] So now we get all the notes we are playing here on this channel for this synth, right?
[47:20.500] It's the same note.
[47:28.700] But this time we want to have it one octave higher, we want to generate multiple notes from
[47:38.660] it, the root note, minor third, perfect fifth and maybe one octave lower, we get the chord,
[47:55.780] maybe we will also want to stick it to the right scale so we choose a minor, let's
[48:07.540] we have this, we can also put this into the music group where we have this volume backing
[48:21.820] here, sequence.
[48:51.820] Maybe we don't get here, maybe we introduce here a note filter but we don't filter anything,
[49:08.500] it's just passing by all the notes, what we use this as a grabbing device so we can
[49:15.620] grab the notes from in front of the Piciada and we can use here our own Piciada or maybe
[49:33.220] in front of the Gytring transposals we can bring in some additional notes.
[49:54.380] Maybe I do also some reverb and some delays, maybe some more notes here,
[50:14.380] maybe some more notes here, maybe some more notes here, maybe some more notes here,
[50:34.060] maybe some more notes here, maybe some more notes here, maybe some more notes here,
[51:00.740] maybe some more notes here, maybe some more notes here, maybe some more notes here,
[51:27.420] maybe some more notes here, maybe some more notes here, maybe some more notes here,
[51:49.140] maybe some more notes here, maybe some more notes here, maybe some more notes,
[52:09.300] up here and we can remove the node receiver we don't need anymore. I just want to show you an
[52:13.700] example how you can do it. But now we want to sequence this and want to maybe play the sequence
[52:19.220] sometimes and sometimes not. So yeah, let's arrange this. Let's grab this here over here. Let's
[52:28.820] play these arranger tracks. We can leave this here in the clip launcher because we want to play
[52:35.780] this throughout the whole track. And we have here the first base sequence. So let's go here for the
[52:44.660] last spot first sequence.
[52:46.340] So second sequence we have here the base here. Second base goes here. And that'll be called
[53:03.300] the base here. And then we switch into a melody part on a second part.
[53:33.300] So this is these are the hi-ads here. I want to play them here and here.
[53:47.620] And maybe we add some rights. Maybe add the kick drum here also.
[53:55.700] Play this. Okay. Now we have the kick drum here. The hi-ads. Okay. So now let's add some rights.
[54:02.660] So we just search for samples here. Right. Let's see.
[54:17.380] Maybe an 808 sample. So let's drag this over here into the channel section. So we create a
[54:33.300] sampler. Drag this here up into the drums bus. And now let's create your note clip.
[54:40.500] And use control and L, which just loops here the selected clip. Click into the clip.
[54:50.180] Awesome notes. Maybe use also your different velocity settings for each note.
[54:56.100] First one is a bit more and duplicate this. Let's bring in a smaller group. Change the aptitude settings.
[55:11.300] High pass, pitch. Let's see how it's saying sounds.
[55:31.220] That's okay. But now maybe we need the crash.
[55:45.620] Let's use a crash. Something like this. Put it in here. Also drag it up.
[55:53.540] And we need the long clip. Just trigger the start of the sequence. Remove key tracking.
[56:04.340] Maybe at the way broke. High pass.
[56:35.140] As you can see, I'm constantly changing at the volume of certain elements because I think
[56:45.380] that when I hear them for too long, they are kind of annoying. So I pull some of these things down.
[56:54.580] Also, you're sometimes the root pad. It's nice to start off with something like this where you
[57:00.340] have amplified the root key. But sometimes I find myself pulling out or just removing the first
[57:08.900] initial pad entirely because I added so many melodic elements to it and I think it's not necessary
[57:17.220] to have it in there. But sometimes it can be nice to have it in there just to fill up the
[57:22.580] frequency spectrum.
[57:42.180] So for instance, here the right sounds nice, but you know, at the end here it comes quite boring
[57:47.780] and we maybe need some kind of roll at the end here. So we just draw in one note and we use the
[57:54.340] operators here to lace. Something like this and maybe also here. Basically divide everything
[58:19.940] into four or eight bars. So you have eight bars and just yet exactly in the middle I think we need
[58:26.100] the break here just to make it more interesting.
[58:53.140] Maybe you can also use the crash sound which is something like this and just re-sample it.
[59:00.260] So we select here just this region. If you go down here you can see it. The cursor changes to
[59:07.860] this kind of bracket and we can just select this here right click and save bounce. Postfader 32 bit.
[59:17.140] And now we have exactly this one here as a new track. It's an audio track. You call this
[59:25.140] reversed crash. Click on it right click and you can say here oh it's actually not in the right
[59:35.140] click. You go up here to clip I think there's somewhere reversed up here. You can see I have to find
[59:43.140] your shortcut which is R and you can do this in the settings. So I need just to select this press R
[59:51.380 --> 01:00:00.980] on my keyboard and it's reversed so I can use this then here for the end. So sounds like this.
[01:00:00.980 --> 01:00:12.660] So because it's the exact same picture I usually go select it's audio sample and maybe
[01:00:12.660 --> 01:00:28.340] pitch it down in the bottom left. We have semi tones but sounds a bit different. Right so. Maybe
[01:00:28.340 --> 01:00:45.060] too much maybe just for semi tones. And make it also a bit quieter.
[01:00:45.060 --> 01:00:59.780] Maybe we go on with this here for two more sequences and we make this more interesting by adding
[01:00:59.780 --> 01:01:07.780] some modulations. And what we also can do is we put all these two into one group here and call it
[01:01:07.780 --> 01:01:14.100] R. So we have just one group where everything is contained in this group right. What you can do
[01:01:14.100 --> 01:01:25.060] now is we can just sequence better yeah and say we want to have a sequence to 16 bars and the
[01:01:25.060 --> 01:01:54.980] second sequence 16 bars.
[01:01:55.060 --> 01:02:24.980] I can see when I'm modulating at the cutoff and sounds instantly better
[01:02:24.980 --> 01:02:31.780] so what I'm doing now is I'm opening up here the automation pane and this knob I am turning
[01:02:31.780 --> 01:02:35.620] here which is to cut off it's exactly this one we're getting here so when I turn some
[01:02:35.620 --> 01:02:43.060] different we get you the resonance resonance so now I can paint in here some some lines I'm
[01:02:43.060 --> 01:02:51.220] starting with the closed closed cutoff then I open it open it slowly up and then a bit down and
[01:02:51.220 --> 01:02:57.860] then going for opening at the end so let's see how this sounds you can also use your the off key
[01:02:57.860 --> 01:03:23.540] and just you know change the slope a bit. Also nice your second oscillator on this sequence
[01:03:23.540 --> 01:03:31.620] a second oscillator on different waveform different pitch and we can modulate or automate here
[01:03:31.620 --> 01:04:01.540] the mix between the two so here it's oscillator one and at the end here we go up down that sounds like this
[01:04:01.620 --> 01:04:24.100] so you're also the dubby chords maybe we tune tune them down here by using the bitter envelope
[01:04:24.100 --> 01:04:45.060] depths and tuning this down here so everything changes quite a bit over time so it stays organic
[01:04:45.060 --> 01:04:50.580] it stays interesting and you don't have to you know it doesn't feel like you are just listening
[01:04:50.580 --> 01:04:58.900] to the same loop over and over so modulation is key automation is key to keep the track interesting
[01:05:21.460 --> 01:05:26.500] maybe you can also change the diodes in this part
[01:05:26.500 --> 01:05:44.820] but maybe use operators this
[01:05:56.980 --> 01:06:21.060] so
[01:06:21.060 --> 01:06:25.540] Maybe it's also way too slow, right?
[01:06:25.540 --> 01:06:54.580] We are still at 1 on 10 ppm, so maybe speed this up to 1, 2, 3 ppm.
[01:06:54.580 --> 01:07:04.140] Maybe it's time for some percussion so we can use samples or we can also use e-tom, e-clap,
[01:07:04.140 --> 01:07:09.180] so maybe stop with the e-tom.
[01:07:09.180 --> 01:07:16.620] Let's paint in here some kind of sequence, it's also not pitch-dependent so it doesn't matter
[01:07:16.620 --> 01:07:33.540] which kind of key you use here, maybe use an uneven sequence, 3, so like this, let's
[01:07:33.540 --> 01:07:40.540] try it out.
[01:07:40.540 --> 01:07:49.980] So we are at A1, pitch amount is throughout semi-tones, so we have some tuned percussion
[01:07:49.980 --> 01:08:08.500] or maybe 24, something like this, maybe you can use a resonator bank here.
[01:08:08.500 --> 01:08:33.460] Let's use a preset, macrominer, pitch it up here, 1, A3,
[01:08:33.460 --> 01:08:59.260] oh maybe a resonator bank, I'll all resonators down and choose, just use here the first one
[01:08:59.260 --> 01:09:19.100] is A3, second one is E4 maybe, so it's just band pass filters basically, and now we can
[01:09:19.100 --> 01:09:38.980] use here the notes and switch on your key tracking mode, so it changes basically the frequencies
[01:09:38.980 --> 01:10:07.500] of these resonators with the keys you are setting, reverb, too much, a little bit of delay,
[01:10:07.500 --> 01:10:19.140] and we modulate the loudness of this one to the random, or maybe use a step sequence
[01:10:19.140 --> 01:10:31.260] so we have a predictable kind of sequence here, and still make it random, but it's always
[01:10:31.260 --> 01:10:48.700] the same sequence,
[01:10:48.700 --> 01:11:17.660] open like this, so we have some kind of polyrhythmia, maybe turn up the smoothing little bit, okay,
[01:11:17.660 --> 01:11:45.980] it should be good.
[01:11:45.980 --> 01:11:59.620] All right
[01:12:29.620 --> 01:12:57.460] So maybe remove the keytracking here again, maybe it's better this way, maybe a limiter
[01:12:57.460 --> 01:13:20.580] Yeah, it's better.
[01:13:27.460 --> 01:13:52.980] So we have now some kind of a redneck percussion element in here, maybe also use a tool
[01:13:52.980 --> 01:14:02.820] and we fade this end of our time with the volume knob.
[01:14:02.820 --> 01:14:32.660] The start, it's pretty quiet, then it becomes louder.
[01:15:02.820 --> 01:15:18.620] Okay, this is now the first draft, we can say maybe remove this over here and we start
[01:15:18.620 --> 01:15:25.060] to create here now the intro and maybe we start probably with the root pad which is always
[01:15:25.060 --> 01:15:29.820] playing.
[01:15:29.820 --> 01:15:36.820] Maybe we also use this melody line but we change a bit the notes here so it's not exactly
[01:15:36.820 --> 01:15:40.820] the same.
[01:15:40.820 --> 01:15:59.380] Also we paint the amount of this one, this frequency amplitude death raised it slowly,
[01:15:59.380 --> 01:16:11.100] maybe also the volume and here we are at one minute mark so maybe we also introduce
[01:16:11.100 --> 01:16:18.020] here the kick at the start, no it's a club track probably so we need to start with the kick
[01:16:18.020 --> 01:16:42.020] drum, maybe you can use here also the hi-hat here.
[01:16:42.020 --> 01:17:11.020] We can add some modifications to that later on just so we fill up here a bit of the space.
[01:17:11.020 --> 01:17:40.980] Also the dappy chords we can maybe use here in the intro.
[01:17:40.980 --> 01:17:55.980] But a bit, you know, tamed, so let's see, maybe only one part.
[01:17:55.980 --> 01:18:25.940] Yeah, bring it down to zero, maybe the crash needs
[01:18:25.940 --> 01:18:35.940] some more reverb here, that's better.
[01:18:35.940 --> 01:18:44.420] Also nice place where you can bring in some interesting sounds in the intro, just
[01:18:44.420 --> 01:19:10.700] tease the listener and make it more interesting.
[01:19:10.700 --> 01:19:35.700] Let's remove this here, it's a bit too annoying, maybe we can extend this a bit.
[01:19:35.700 --> 01:19:50.340] This is cool though.

[01:31:32.340 --> 01:32:01.900] Yeah, maybe the Apeciator Melody
[01:32:01.900 --> 01:32:11.740] So maybe a bit too cheesy, I don't know, but it's up to you. I mean, it all depends on what kind of style you want to do, right?
[01:32:11.740 --> 01:32:23.620] Maybe it's already too full of melodic sequences. Maybe you want to have it more like tribal, maybe you want to have more this harmonic sounds in it, so it's all up to you.
[01:32:23.620 --> 01:32:40.620] So we are now here at the six minute mark, maybe you can drop into the outro kind of, which is probably just the kick drum or something similar to the intro.
[01:32:40.620 --> 01:33:02.500] And fade out here to the bad sound. Maybe also fading out here to kick drum. It depends. I really like fading out stuff. It's so easy to do and you know.
[01:33:10.620 --> 01:33:22.620] That's the quads here.
[01:33:22.620 --> 01:33:34.620] Oh, there are the e-champs.
[01:33:34.620 --> 01:33:54.620] That's it. Bam. Now we have a nice track here. Maybe we can add some kind of sparkles on top.
[01:33:54.620 --> 01:34:08.620] In the form of using maybe a piano sound. We can use an external instrument or maybe use some internal bitwig.
[01:34:08.620 --> 01:34:32.620] Yeah, maybe let's use the presets on electric keys, which is part of bitwig. Electric, rusty roads, let's see. And use my MIDI keyboard here.
[01:34:32.620 --> 01:34:46.620] Yeah, just a digital piano. And maybe add some delay chorus, please.
[01:34:46.620 --> 01:34:59.620] I don't know if it fits, but that's fine. So now we use basically the scale of A minor and play some random notes on top at certain points.
[01:34:59.620 --> 01:35:18.620] Make it more alive.
[01:35:18.620 --> 01:35:37.620] Maybe more dappy.
[01:35:37.620 --> 01:35:58.620] So you can record this basically. Just hit record and play some notes in the scale of A minor. Like I said, A minor is pretty easy. You have to start on A. And then you can use all the white keys and just, you know, jam away.
[01:35:58.620 --> 01:36:22.620] So I can show you my keyboard, what I'm playing.
[01:36:22.620 --> 01:36:43.620] You can also listen to the track entirely.
[01:36:43.620 --> 01:37:12.620] The intro is maybe not that interesting.
[01:37:12.620 --> 01:37:41.620] You can see I'm just pressing here some keys from time to time.
[01:37:41.620 --> 01:38:06.620] Maybe it changes too drastic.
[01:41:06.620 --> 01:41:29.620] Maybe you can do some quick mastering with cool voice or unfilter.
[01:41:29.620 --> 01:41:53.620] So it's good, this without.
[01:41:53.620 --> 01:42:08.620] Music.
[01:42:08.620 --> 01:42:25.620] Maybe here the change from this part to this part is maybe too much.
[01:42:25.620 --> 01:42:54.620] But it's okay, I guess.
[01:42:54.620 --> 01:43:13.620] Maybe the right is also too loud.
[01:43:13.620 --> 01:43:33.620] That's okay, I guess.