Bitwig Track From Scratch - Ambient / Downtempo - Dawless

Tutorial | Sep 27, 2022

In this video, I showed how to make a dance floor track out of an 8 bar loop. I began by listening to the track and removing some of the plug-ins and then creating an intro. I used some automation and randomization to make the most out of what I had, and then I added a lead melody and some drums and percussion. I also used some FX and modulation to emphasize the drop and add some variation to the track. Finally, I added a straight hi-hat to emphasize the speed.

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 arrange a track? #

The best way to arrange a track is to start by listening to it and getting familiar with the elements in it. Then, create a rough structure for the arrangement by breaking it up into 8 bar sections, and decide what sounds should be used for the intro, drop, and outro. It's also important to think about how elements can be layered and what frequencies can be filled out in order to create a balanced and interesting arrangement.

How can I add more interest to my track? #

To add more interest to a track, it's important to add in additional elements such as FX sounds, environmental sounds, vocal samples, or even a lead melody. Automation can also be used to add more character to the track, such as fading in and out elements, or modifying filter parameters. Randomizing elements and using probabilities can also help to keep things sounding fresh and interesting.

What is the difference between using XO and using samples? #

XO is a type of sample library that contains pre-recorded sounds that can be used to quickly and easily add elements to a track. Samples, on the other hand,

Transcription #

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] Hey folks, welcome back to another video.
[00:03.900] In the last video we did some kind of quick mastering for this track and in the first
[00:09.940] video we created kind of an 8 bar loop and today I want to try to cover the arrangement
[00:17.140] how I would arrange something like this, even though I am not a big fan of this track anymore
[00:21.900] and I probably would never touch it again and maybe delete it, this is also an option.
[00:29.540] But for now I want to show you how to make out of this some kind of arrangement and some
[00:35.900] tips and tricks around it basically.
[00:37.660] So the first thing is when I open this up after some weeks or after some days is to
[00:42.940] listen of course back to it again and listen to it what kind of things changed in my head
[00:50.180] and where some elements are I don't like and where I need to add something to it.
[00:55.100] So just give it a quick listen.
[01:20.260] So I am just removing some plug ins I don't need for now what the arrangement just to
[01:24.060] make this a bit more not less lagging or remove the latency basically because we don't need
[01:35.860] all these mastering plug ins now.
[01:38.740] So for now it's just a nice background thing there's a main melody hook or some characteristic
[01:47.780] sound missing it's just background noise basically and it could loop like this forever basically.
[01:55.620] I could put in some details here and there to make it more interesting over time but
[02:00.340] it sounds more like it's a song and I think there needs to be some kind of hook or melody
[02:05.700] or theme or you know whatever you want to call it and maybe we add this later on.
[02:12.900] But maybe for the start we just lay out some rough construction about the arrangement and
[02:20.660] I just quickly move here all this to the side maybe two bars and when I say bars I
[02:26.580] mean these chunks here which are basically eight bars.
[02:31.020] So I'm thinking in eight bars I'm more or less arranging this like a dance floor track
[02:38.340] if you want to say it say to this like this but you can also if you for instance if you
[02:45.620] create something for a soundtrack or for a movie you probably have a different arrangement
[02:50.740] technique you probably start with some piano and then you play to it and then you add later
[02:55.820] on some things here and there and then from that the arrangement raises up or evolves
[03:03.140] and here it's more like a dance floor track I thinking in chunks basically.
[03:07.740] So I have these chunks here which are eight bar loops or eight bar sections and yeah I'm
[03:16.820] starting from this so I'm thinking here should be some kind of intro.
[03:21.580] Here we are at 45 seconds into the track so I think in good intros maybe one minute so
[03:28.020] maybe three or two of these so here we are at let's see one minute thirty which is perfect
[03:36.220] so this would be here my intro.
[03:40.020] Inside the intro I probably don't need drums and bass the job is probably here so this
[03:47.660] is my thinking about it the piano is maybe too much so I delete something and in the
[03:51.980] start here I want to probably start with just the pads or some background drones so I remove
[03:58.700] this I leave this here for the job so we have the vocals we don't probably want the vocals
[04:05.820] all the time so we start with the vocals here to drop the drone plays throughout the intro
[04:11.260] probably then we have the pad and the arp the arpeggiator probably wants to fade in over
[04:17.780] time so I just do that this is just how I like to have it in the intro and of course
[04:25.660] you can have the arpeggiator in the intro if you want to it's just a creative decision
[04:30.740] and a creative decision and you can do it in multiple ways this is just one way of doing
[04:37.700] it but I tell you how I think about it so I want to fade in your basically at the pitch
[04:43.060] at us I'm using it out put off this synth or maybe we can do a cool device which is also
[04:50.260] something I like to do just remove this I use the volume knob here like this and then
[04:56.940] I have your line in there so I'm slowly fainting and holding out the alt modifier key to just
[05:04.500] make this slope a bit bit slow and curvy so now that we have this the pad sound you probably
[05:16.220] wants to fade in also so I'm using also here to modifying this over here maybe we want
[05:27.980] to have this slightly in at the start and also we want to probably modify here the cutoff
[05:35.940] knob so we want to have this here and just slowly down and we have also the drone here
[05:48.580] and let's add your filter and filters open at the drop and here we close it down so it's
[05:57.860] just all fade in so it's just basic work just to get the rough structure in there and the
[06:04.100] details of following later and here I already can imagine to have some FX sounds maybe some
[06:21.500] rain sounds some environment FX crackling or I don't know some vocals maybe or a speech
[06:32.340] that you can bring in here to bring in more interesting details so here's the piano and
[06:41.020] we have the possibility because these are all notes you can select all these notes here
[06:46.620] and can say well I want to have here maybe a lower probability of being played so this
[06:53.820] time now every time you play this loop here it sounds a bit different so every time you
[06:59.540] bounce the track this is a bit different so we can do something like this click here on
[07:04.260] the track or click on this on this clip go to the left side here and say seed instead
[07:09.980] of randomizing this every time you just click random and create here some kind of seed and
[07:16.140] then it's always the same and add the probability out now we can also use here the velocity
[07:36.020] so you can see it's always the same notes if you don't like how the sounds then you
[07:55.620] just click here or different seed so maybe here there needs to be some kind of percussive
[08:09.180] element that leads into into the track because here we then have some some drums right so
[08:18.140] we need to have something here that teases the the speed of the track or teases in what
[08:23.380] comes next after the drop so maybe we can do here some hi-hats or maybe this one here
[08:30.180] all right bring this in over here maybe also just make it simple use a filter here and
[08:45.300] then fade in the cutoff over time something like this maybe we can bring in the vocals
[09:14.220] here but also with the filter on it we already have a filter here such as that's on or off
[09:23.100] that's not what you want this one here so mark here this original or initial setting
[09:29.420] for the cutoff bring this down here so I just try to make the most out of what we already
[09:41.820] have and some automation add some other automation to it
[10:11.820] this kind of rocks then we have this job here to emphasize this job we can bring in some
[10:32.140] kind of crash simple so I'm using something from my sample library and it doesn't matter
[10:42.180] how it sounds it's more like I need something that's noisy right something like this and
[10:53.060] then create this over here add some reverb to it maybe tweak it a little bit some EQ
[11:06.900] settings it's way too loud so make it quiet and you've pitched it up a bit I need to have
[11:26.060] to see a re-patch so this is okay for now so we can bounce this out here so we maybe
[11:46.860] this should be enough here post fader 32-bit okay so we basically can remove this but for
[12:03.820] the second thing I just change here a bit the EQing of this maybe pitch it also bit down
[12:20.060] and then bounce this again we put this over here and just reverse it I have a short key
[12:33.540] for this but you can also right click I think it's a reverse here now we have to click it
[12:38.780] and then use clip and then there's here some kind of let me see it's reverse for me it's
[12:47.100] just a shortcut error or I just press on my keyboard and then I reverse every audio clip
[12:54.100] and then we can remove the original clip so we have a crash sound here and we can also
[13:00.540] use this here of course maybe here yeah maybe also can use this here and turn this a bit
[13:13.220] down because it's the intro there's not much happening so maybe minus 40B, fade in, this
[13:33.940] is the crash call this FX here so we can add just some more filtering
[13:49.020] it's a bit quieter it's just for the background to emphasize that we have a drop here maybe
[14:13.500] put the piano over here it's maybe too much for the drop and here should be maybe a melody
[14:19.660] that's emphasizing the theme or the motive of the track maybe this should be over here
[14:38.180] and let's save this close this all down so for now we basically did some rough sketching
[14:47.460] about the structure of this track so I laid out here the intro where the drop is then
[14:52.340] I emphasize the drop with the crash and with a fade in of this crash and I faded also in
[14:59.380] here some elements we already had from the main drop put some kind of filter on it and
[15:05.180] then slowly bring it in leading up to the drop and then also using in the piano background
[15:13.180] glitter thing and use some randomizations to you know make it a bit more thin not that
[15:20.020] thick and use some probabilities for it and yeah that's basically trying to make the most
[15:26.500] out of what we already have and laying a ground structure for the arrangement so now I think
[15:34.620] it's missing a motive so I'm trying to go you to my police and and creating some kind
[15:45.740] of lead sound so I'm probably using here unison long release close filter sounds 80s of course
[16:00.660] but
[16:17.940] we can put just some reverb on it so now we have to come up with some kind of melody
[16:35.940] that's yeah bit catchy let's see and we just use here some some notes from the scale of
[16:55.300] course that's super diatonic everything and because I'm using the sharp minor I'm playing
[17:04.580] all the black keys and it's also bandatonic so it's super nice for melodies it's overused
[17:11.500] of course it's overused but it works most of the times
[17:40.260] super simple super easy just a melody on the bandatonic scale of this main scale which
[18:01.380] is D sharp minor yeah using the dominant and the root and throwing on the rest of the notes
[18:12.680] and trying to come up with something that's catchy and the sound is also pretty basic
[18:19.140] and super synth wavy and you probably want to exchange this for something different can
[18:25.940] also maybe use here BST I just recently bought your content pack which is the vibraphone
[18:36.100] I really like this let's go for soft here if you like this kind of sound it's super
[18:44.900] massive to make this a bit longer
[19:08.500] maybe this is better or maybe you can mix it up with the synth I think this here fits
[19:24.820] so this is the lead melody maybe you can put this here into the atmospherics
[19:45.940] let's see how this works together with the piano here and maybe to make this more interesting
[20:10.780] I'm changing here the melody and just switch it one octave lower
[20:35.220] so now you have the piano basically an octave higher and an octave lower you have to sleep
[20:39.820] melody so it doesn't clash that much right so it's also something I'm thinking a lot
[20:46.100] about unconsciously so I'm thinking in layers in octaves right I have the bass and it's
[20:53.100] the lower octave and then I have the kick drum which is an octave higher maybe the snare
[20:58.460] drum is another octave and the hi-hats are on top and the lead melody is on this octave
[21:04.020] and then there's this piano that plays the higher octaves there and you know so I'm trying
[21:10.300] to complement basically everything to fill out the spectrum in a certain way it's never
[21:14.700] that I play most instruments in the same octave so it's basically about frequencies but I
[21:22.660] don't think in frequencies that much more like when I think about drums than in last
[21:28.220] frequencies but when I do music here some notes and so then I thinking most of the times
[21:34.740] in octaves filling out the octaves basically never play the same note on the same octave
[21:40.740] at the same time so you don't clash that much.
[22:09.260] Also the arpeggiator here is missing at this part so we have here two new parts that taking
[22:22.860] over basically so here we have the vocals only.
[22:45.700] You also can do is here we basically play the bass.
[22:50.820] Let me see here's the bass the bass plays basically on just one the root note which is
[22:55.140] boring over time so I guess here on this part we just leave the bass playing on this note
[23:02.420] because this is the rinse out part but here maybe we have maybe some note changes yeah
[23:20.620] maybe let's try it out so we have the root then we can try out of course the fifth here
[23:29.580] maybe bring in some melodies.
[23:51.140] Maybe need to bring these two together yeah make one clip out of this so we have the fifth
[23:57.660] here maybe play this here so just one octifier that's the fifth the root the fifth and then
[24:05.020] maybe switch it to this one there's the fourth here let's see here that's better here.
[24:31.580] There you can bring in here this one.
[25:01.420] Okay so we can use this here and then we go here into this part and then we just hold
[25:21.140] this note the root note
[25:39.620] it's here at this point let me see at this point here we just switch to the fifth
[26:00.060] that's better.
[26:17.420] Okay so we have basically here some switches in the bass and then here I feel like we have
[26:45.620] to step up with the drums so this is a bit too boring over time so we use some some rides
[26:57.540] so maybe I use just my sample library so this is what I mean when I use XO right you always
[27:06.260] have the same when I search for right I've always the same list and then I just try to
[27:10.660] randomly find something that I never used before and that's much easier with the sample
[27:16.500] space but here I'm just scrolling around and trying to find randomly something
[27:30.100] to use a sampler or maybe instead of sampler maybe a drum drum machine and write a load
[27:43.260] a bunch of these here so let's see they are starting here looks like okay doesn't need
[28:04.460] to be precise I don't like to be precise actually making music it's the imperfection that makes
[28:13.340] the sound so now we have some rides here create here some kind of layer and also velocity
[28:27.180] pretty important so put this here in the drum group maybe it works I don't know maybe the
[28:41.940] compression is too much alright we get this it's too loud so I'm dialing this down sometimes
[28:49.380] I have to write out of the drum bus here entirely because I don't want to have this right ducking
[28:55.100] and going up and down maybe it's too much sometimes so I put this out then also out
[29:00.300] of the drum bus and put it maybe here and fx bus just to have some kind of background
[29:06.420] ride that is more or less straight in volume so what we need your provision low cut a lot
[29:17.340] of stuff here we don't need what's too slow maybe use here 50% let's try a different sample
[29:39.940] that's better
[30:09.940] so this is here for these two bars and then we can also maybe step up at the base a bit
[30:25.860] so just duplicating at the base and here we don't need that and this density and this
[30:40.460] one is just or we have an automation in here cut out here the base because it's just
[31:10.380] a layer on top
[31:28.940] so we have the base and then on top here we have the
[31:58.780] this kind of overtone that brings a bit more speed
[32:28.780] and also fade out the other pad because as long a long pad or drone sound also slows
[32:40.500] down how you perceive something so maybe pull down at the or we have no pad actually in
[32:51.140] here so maybe fade it out completely and then use this to fade it in to go to the mid part
[33:01.700] here to the end part kind of also here
[33:21.660] that's not perfect
[33:46.300] maybe we need some more straight hi-hats let me see
[34:14.540] some XO here put this in here so we are in the hats section now
[34:30.460] or what you can actually do is instead of XO we can use the hi-hat
[34:58.380] just use basically without everything just white noise
[35:12.420] so I want to have a straight rhythm in the background to emphasize the speed
[35:39.740] I appreciate it also could help here but maybe without
[35:53.660] without the tri-signal so maybe use here the reverb mix down bring it in
[36:21.460] nearly all the way and then using the mix here for the delay
[36:50.180] okay we modulate here the amount
[37:00.780] maybe make this a bit more stereo here
[37:28.820] and then we drop here somewhere here into the mid part because we are at three minutes
[37:38.140] it depends how long you want to make the track right you can repeat this over and over and
[37:43.140] just change slightly things here and there make this track 20 minutes so then we drop
[37:50.820] here probably again into the drone and also into the pads
[38:09.980] maybe bring in the delete melody bring in here fade in and then repeat the whole thing
[38:34.140] this is the filter here okay with the frequency
[39:04.140] and then we have the bass line melody here again before we had it last time here and
[39:15.220] then we dropped into the straight bass here and then there's a mid part without the bass
[39:19.460] and then we get back here to the bass melody which is probably a lot more satisfying having
[39:26.540] to hear this melody again here so this is how I would lay out this track here basically
[39:33.140] all you have to do then redoing all these tricks I just did here with fading in fading
[39:40.660] out adding some sounds here and there for leading up to something and coming from something
[39:45.940] like crash and the fade in reversed crash sound is probably to add some effects and
[39:53.260] details voices small little foley samples and maybe also adding some breakdown so for
[40:04.540] for instance an easy way would be to have on the drums here let's listen to this you
[40:14.980] have the drums here and they play and play over and over and you want to probably want
[40:19.180] to change things so you could edit this in manually or you just add maybe here a glitch
[40:30.500] plug in which is free of course I use this all the time because it brings in a different
[40:37.660] sound that I normally don't have we have here some glitch sounds because there's a sequencer
[40:51.180] in here you can randomize everything but all the times of course too much so I'm using
[41:02.140] the mix knob here using a step mod and just modulate here the groove make this bit slower
[41:16.860] and say only at the end of the sequence I want to have this mix
[41:45.260] so you have a little kind of minimal variety at these points here and then if you get bored
[41:52.540] with it you can just click here both and have different patterns and creates different transitions
[42:22.380] here can change things so you can change things next time you want to in sync calls
[42:36.700] That was maybe still a bit too loud.
[43:01.700] Alright.
[43:06.700] Done.
[43:48.700] What you can move pretty quickly just by taking what you have, using some fade-ins, fade-outs,
[44:13.940] lay out the ground structure for the arrangement, how you want to have it, and then go into
[44:18.380] the details. That's much faster than just starting with the details and then figuring
[44:23.660] out how to move forward. So that's how I do it most of the time, so starting rough and
[44:33.260] then going into the details later, flashing it out. So yeah, it's maybe not optimal in
[44:40.140] all kinds of situations here, but I think it's a better spot than before, because it
[44:46.900] tells some kind of story in a way. Something happens, it evolves in a way than just being
[44:55.620] a loop, an 8 bar loop that doesn't move. Maybe put the C here also in the all-group,
[45:19.020] or something like that.
[45:44.580] You can fake here some kind of holy stuff by just using a drum machine here, loading
[46:00.540] a bunch of crash cymbals into the drum machine, and then using a delay, or maybe faster reverb,
[46:25.020] and then a slow delay, then EQ. Because I don't want to decide where to put stuff, probably,
[46:51.300] I'd just play it on the keyboard, maybe.
[47:16.780] So maybe, I did this a bit here.
[47:39.340] So first, maybe, quantize this a bit, use random bar, be 3 bars, 3.
[48:07.820] And then also adding more this here, using operators, 30% maybe, using a seed, duplicating
[48:30.100] this to a different seed, it's maybe, oh, it's working, okay.
[48:55.380] Hmm, it's maybe not the best idea.
[49:18.980] Uh-huh.
[49:48.660] It's a bit too loud here.
[50:08.340] Maybe I don't want the melody here.
[50:14.660] Yeah, these are basically the creative decisions then.
[50:23.020] If you want to have something there or not, if you think it's too much.
[50:38.340] Maybe I use the filter envelope.
[50:49.860] To start it's a bit softer.
[51:16.260] But this drone here is too much, too active.
[51:46.100] I think we have a better idea of how to do it.
[52:39.420] So this one is a bit too loud, so minus 3 dB and maybe we can put another clap on top
[52:54.980] of that.
[52:55.980] You're just to emphasize that there is a change.
[52:58.580] So we're using XO, I'm trying to find a clap.
[53:11.860] My PC is a bit slow because I have a heavy download running in the background, so I need
[53:21.700] the organic clap.
[53:27.980] Also a bit reverb would be nice.
[53:33.100] So maybe something like this.
[53:40.100] Let's see here, okay.
[53:59.060] And also use a reverb on there.
[54:20.700] So it brings a bit more organic feel into the clap because we don't have anything else
[54:26.540] running here.
[54:27.700] It's just the drums in the bass and then you need to bring out some details probably on
[54:32.900] the drums to make it sound more high quality or a bit more detailed.
[54:51.140] Also like here when you dial down the diffusion on the Bitwig reverb, it gets this grainy feel
[54:56.900] but it's more like a reverb.
[55:06.660] So super smooth and diffused and when you pull this down, it's more like you hear all
[55:14.860] these echoes or delays and then you can switch between reverb and delays.
[55:24.500] It's kind of like the Valhalla supermassive works here with this warp thing where you
[55:32.940] can plant between delays and reverb.
[55:56.980] Then we actually move this one off the floor here.
[56:14.420] Okay.
[56:29.900] Oh yeah, we have to clap, you're still running, so because this is internal sequencer, we
[56:51.660] take here the export menu and take the MIDI clip and put this in here. And then we can
[57:03.820] stop the internal sequencer. So we just run the clap only here. Give me the clap, clap,
[57:11.780] clap. It's a clap on top of a clap. Oh yeah, we can also use it because we use just one
[57:32.700] note and then we use the note repeater here to create kick drums. You can also just automate
[57:44.300] this here a bit differently here. Add some more kick drums.
[58:06.260] So we need the initial setting here instead of this one. Maybe with the right here we
[58:35.940] also select all the rights and use velocity and modify this a bit so we have different
[58:41.820] changing velocities over time. So it's not always the same velocity. Can we change the
[58:51.100] panning here? No. It's randomized, right? Randomize. Pitch, pressure, gain, panning.
[59:06.620] This would be too much. Just a tad. That's enough. Okay, so now we put here on the master.
[59:25.740] I'm going to use my dB meter 5. I want to have probably minus 10 lofts. This is my target.
[59:39.220] Reference loudness. We're already there. So we need to reduce here the volume on the master.
[59:45.340 --> 01:00:04.340] That's already too loud. Then we need the DSEQ3 on there. And I want to remove the harshness
[01:00:04.340 --> 01:00:11.760] of the top end. I have a slope of 3.0, which is probably pink noise. You can also dial
[01:00:11.760 --> 01:00:18.900] in your 4.5 if you want to have it more relaxed. And then we have threshold at 0 dB because
[01:00:18.900 --> 01:00:28.380] we dial in here the loudness with this one. And everything that passes in terms of high
[01:00:28.380 --> 01:00:40.100] frequencies, this 0 dB line gets caught by this, yeah, the S-R. You can see it. You think
[01:00:40.100 --> 01:01:05.940] it's still too bright and you can dial this down here, of course. And I want to basically
[01:01:05.940 --> 01:01:13.220] leave the bass unchanged. So it's probably here the kick drum that gets caught. But I
[01:01:13.220 --> 01:01:21.660] don't want to have this. I just want to focus here on the thighs. So now that we have this,
[01:01:21.660 --> 01:01:27.820] we can use the Elevate Mastering Limiter. And this one introduces a lot of latency.
[01:01:27.820 --> 01:01:34.780] But it's okay. It's on the master. And here I have the Limiter Gain at 0 dB. So it's only
[01:01:34.780 --> 01:01:46.340] catching stuff that peaks above 0 dB. And the RMS or the short-term loudness max here
[01:01:46.340 --> 01:01:52.180] is dialed in with this. So we are catching basically just the peaks to get to this target
[01:01:52.180 --> 01:02:15.940] loudness here of minus 10 lbs. So you can see we're basically doing not much actually
[01:02:15.940 --> 01:02:28.420] with the Master Limiter. It's just to catching these peaks and to make sure we stay basically
[01:02:28.420 --> 01:02:47.780] within our 0 dB range here, 0 dB ceiling. It could go maybe here to minus 8. And then
[01:02:47.780 --> 01:02:56.980] we drive basically more of the audio signal into the DSEQ here, removing even more harshness.
[01:02:56.980 --> 01:03:03.980] And also the Limiter Gain, as you can see, is reducing some peaks even more.
[01:03:26.980 --> 01:03:38.180] Yeah, I know the lead melody is actually a bit too cheesy for my taste now, but I just
[01:03:38.180 --> 01:03:45.500] want to make a point. This is a creative decision. You can make this different. You can choose
[01:03:45.500 --> 01:03:51.460] whatever melody you want or don't use a melody at all. But I think there needs to be something
[01:03:51.460 --> 01:03:58.940] here that brings in the motive of this track. I think that's it for this video, because
[01:03:58.940 --> 01:04:04.220] now I probably just create here an outro, which is probably just the same as I'm doing
[01:04:04.220 --> 01:04:13.140] the intro, what the reverse thing instead of fading in and fading everything out. Here
[01:04:13.140 --> 01:04:18.340] we are at 4 minutes 31. I think it's okay for this. Maybe you can make 8 minutes out
[01:04:18.340 --> 01:04:35.340] of this, if you want to. But yeah, just fading everything out here.
[01:04:35.340 --> 01:05:01.740] Oh, this is the up. We don't need the up here.
[01:05:01.740 --> 01:05:14.780] And the drone fading out here. Maybe you can do this over 4 of these chunks, if you want
[01:05:14.780 --> 01:05:34.460] to. Maybe put also a crash on there and fade in.
[01:05:34.460 --> 01:05:56.700] I think that that would be it. Maybe do another video for the mastering, but I have to say
[01:05:56.700 --> 01:06:03.300] besides that type of stuff, I don't do much differently for mastering, because I don't
[01:06:03.300 --> 01:06:09.380] cut it to vinyl or anything like that. I just upload it on YouTube or maybe on Bandcamp.
[01:06:09.380 --> 01:06:14.580] And I think for the most part, if I think it sounds okay on my headphones or my iPhone
[01:06:14.580 --> 01:06:22.820] or on my speakers here, my room or on some different devices I'm testing on different
[01:06:22.820 --> 01:06:29.340] headphones, when I think it sounds okay there, then it's okay. But besides that, I don't
[01:06:29.340 --> 01:06:35.780] do actually that much for the mastering. And to be honest, I am not experienced with mastering
[01:06:35.780 --> 01:06:42.860] at all. I think mastering is only needed if you cut it to actually things like vinyl
[01:06:42.860 --> 01:06:48.200] or maybe cassette tape. And you need to have special parameters for all that stuff to make
[01:06:48.200 --> 01:06:53.180] it sound great there. But I'm not experienced with that, to be honest. I would advise to
[01:06:53.180 --> 01:07:00.940] give this actually to some trained professionals. But for me, uploading this to Bandcamp and
[01:07:00.940 --> 01:07:07.740] YouTube, I think most of the time this is perfectly fine. Okay, so that's it. Thanks
[01:07:07.740 --> 01:07:12.100] for watching. I upload this project in this stage here to my Patreon if you want to download
[01:07:12.100 --> 01:07:17.020] this. And thanks for watching. If you have some questions about the process, let me know
[01:07:17.020 --> 01:07:22.140] in the comments. Leave a thumbs up if you liked the video. And I see you in the next
[01:07:22.140 --> 01:07:24.420] one. Thanks for watching and bye.