Using Automation to Enhance Your Music Arrangement

Tutorial | Feb 22, 2023

In this video, I'm talking about how automation can be used to progress your track, how to use it as an arrangement tool, and why it's the most important thing you have in your tool belt. I explain how I use automation to draw in value changes over time and introduce a storyline to my arrangement. I also discuss how I use modulation to give my sound an organic feel and how to use automation to make more drastic changes to progress my track. Finally, I demonstrate how I use automation to introduce a groove and rhythm to the listener and give them a sense of when something is happening in the track.

You can watch the Video on Youtube

Why is automation useful? #

Automation is a powerful tool for creating interesting, dynamic sounds and arrangements. It allows producers and engineers to control parameters over time, creating gradual changes in sound and setting up a timeline for a track's progression. Automation can be used to create unique soundscapes, build tension and release, add subtle nuances to a track, and create a sense of movement and energy in a mix. By automating a range of parameters, producers can create dynamic, ever-evolving sounds that can move a track forward and make it sound more alive.

Whats the best way to use Automation? #

The best way to use automation is to use it to progress your track, to paint in a storyline to your arrangement and to use it as an arrangement tool. Automation can also be used as a sound design tool to draw in different value changes over time. Additionally, automation can be used to introduce changes at certain points in your track, such as a drop or a bridge, which can help give the listener a sense of progression and flow. Automation is also a great way to make small changes to a sound without drastically altering it, such as modulating a filter or the level of a sound. Finally, automation can be used to bring in reverb or delay over time, to give a track more texture and depth.

Transcription #

If you don't want to watch the Video, or search for a specific topic, here is the transcription of the video with links to video markers:

[00:00.000] Hey, folks, in today's video, it's about automation in Bitvec Studio, and I don't want to explain
[00:06.400] how the automation works.
[00:07.800] There are a lot of tutorials on YouTube that actually explain how the automation works
[00:13.760] in every dark possible.
[00:16.160] What I want to talk about in this video is about how you can use automation to your advantage,
[00:22.200] how you can use it to actually progress your track, how to use it as an arrangement tool,
[00:28.740] and why it's actually the most important thing you have in your tool belt for arrangements.
[00:35.800] So a lot of people use automation also as a sound design tool to draw in different value
[00:44.080] changes over time, and this is completely fine.
[00:47.840] But the main purpose of automation, in my opinion, is for progressing a track, to paint
[00:53.960] in a storyline to your arrangement, and I want to give you an example of what I mean.
[01:01.120] So here I have basically just a kick drum, maybe just remove this, just a kick drum
[01:06.120] I recorded here with my DFAM, just to have some kind of, you know, rhythmic element in
[01:14.640] the track.
[01:15.640] I'm using my auto level just to get a nice peak at 0 dB here with this kick drum.
[01:22.080] Maybe I can move this here a bit forward, something like this, maybe I also draw in
[01:29.360] here a different envelope, that's okay for now.
[01:36.560] So we have the kick drum as a rhythmic element, so let's imagine we insert here some kind
[01:41.360] of chord progression, not really chord progression, just use here a simple chord, so maybe make
[01:49.560] some dub techno, so we have the root note here, we have the third, we have the fifth,
[01:58.720] and we draw in some notes, or actually we draw in here just one note, let's go here
[02:04.920] for C, that's too low, or maybe it's okay, something like this, that's not what we want,
[02:14.320] so we draw in here a repeater, so we repeat the note, a bit of sound design, so in here
[02:25.600] I bring in basically the first values to sound design, what I want to have, I not kind of
[02:33.920] evolve my sound, I draw in static, or I use static values to actually define the sound.
[02:59.720] And when I use these values, or I dial in all these values for my sound, I already testing
[03:07.640] with some parameter changes here, what I can do with this preset, or with this patch, right,
[03:13.120] so that's why I'm playing around here with the cutoff, so I'm already scanning while
[03:23.280] I'm dialing in this preset, I'm already scanning for possible value changes over time, what
[03:29.280] I can do with automation over time to give this patch some kind of life, some kind of
[03:36.560] storyline over time, so this is why I'm filling around when you watch my streams, I fiddle
[03:43.760] around and try out different settings here and see what I can get out of all these values
[03:49.520] are already dialed in, what can I do with this preset, with the sound, so right this
[03:58.960] is too much here, this is too less, so I'm kind of in this range here I can play around
[04:04.440] with the resonance, so this is too much, this is also too much, so in between here and here,
[04:14.640] this is the range I want to play in with this cutoff, so I'm scanning for all these possibilities
[04:20.440] I can use, this is why I'm playing around with all the knobs all the time, to find the
[04:27.800] sweet spot for the sound itself, but also at the same time finding ranges I can play
[04:34.440] with later on with automation and maybe modulation, so then on top of that we get modulation
[04:44.600] here with the modulation system and Bitwig's, so I can use random, what right, you can say
[04:50.480] I want to randomly play around here with the cutoff, so the sound is not that static anymore,
[04:55.640] so maybe switch this to hold here also to note, so every time we trigger a note we get
[05:00.080] the random value, so every time we trigger a note we get a different setting for the
[05:04.480] cutoff note, right I'm basically dialing in here a small range
[05:14.440] because I want just a small fluctuation in the cutoff, but I'm already thinking about
[05:23.640] automation at the same time, I'm thinking about, well this small little range here I'm
[05:29.120] modulating because it gives my sound in its current form a kind of a life of its own because
[05:36.680] it's changing all the time, but also I don't change the sound too much, so it becomes a
[05:44.000] completely different sound, this is something I keep myself for the automation, so I can
[05:50.960] draw in an automation later to change the sound more drastically, I'll show you this
[05:56.840] in a minute, but I want to give you basically a rough idea of what I'm thinking when I'm
[06:02.880] dialing in automation or modulation things to knobs and also changing or deciding what
[06:10.160] kind of ranges I'm using, so here I'm saying well this is my sound, I did find my sound,
[06:15.360] it's kind of this dubtech chord sound, plug sound, and then I used modulation to bring
[06:22.560] in some kind of small little fluctuations to the sound, so it sounds more alive or organic,
[06:29.720] and then I'm already knowing I'm using automation later on to make more drastic changes to progress
[06:38.360] the sound in a way over time, okay, so we can do the same, we can just duplicate here
[06:49.840] the render mod, and I get a different seed here, so I'm modulating slightly just the
[06:56.520] decay time, and maybe I'll use render mod here, and I don't use here the hold, I just
[07:08.000] modulate by smoothing all the way up, so it's a sinus curve, one ball modulation, and
[07:15.480] I'm slowly, also by Volam, I'm slowly modulating here the pitch, just a tad.
[07:22.120] I don't use here the vibrato, because the vibrato just uses internally an LFO that goes
[07:28.280] up and down, but I prefer to use the render mod here, which also gets me some kind of
[07:33.840] sinus waveform, but it's randomly in what kind of values it chooses, so it's kind of
[07:43.640] a random pitch mod, so I'm modulating here by, or maybe I'll go to unipolar here, and
[07:51.400] modulate by let's say 20 cents, so now I'm modulating here the pitch, decays for filter
[08:03.360] and amplitude, and also your slightly, yeah the cutoff, okay, maybe I'm using unison,
[08:16.520] so this is way too busy, so I have too many notes, so I'm using a quantizer, so everything
[08:23.120] that comes out of the repeats here is getting quantized to a 16 note grid, and now I can
[08:29.120] change the repeat setting here, until I find some kind of nice setting, so let's go for
[08:43.840] 3.
[08:47.360] So now I define basically the pattern of this clip, and I also at the same time, at the
[08:57.320] same time I'm thinking about automation again, because I can automate this here later on,
[09:02.040] I can say I want to change the repeats timing, and create a different pattern, or maybe I
[09:09.760] can change up the pattern at a certain point, and I can show you in a minute also how this
[09:16.400] sounds, so now we have this, and I bring in here maybe a delay, or maybe use a convolution
[09:26.560] reverb here, and I'm going for a spring reverb, let's try out something here, see this is also
[09:53.040] something we can use later on in the automation here.
[10:05.520] So I'm playing around to the patch, dialing in the sound specifically how I want the sound,
[10:10.600] and then I also remember certain knobs I'm changing, where I think this could be really
[10:15.400] nice later on to automate to progress actually my track in a certain direction, okay.
[10:22.840] So here we have this loop now, okay, and you get the idea how this sounds pretty easily,
[10:43.760] because it's always the same sound, it plays the same pattern, and it has some slight changes
[10:50.520] in it here with the modulation to get some organic feel to the sound, which is okay,
[10:55.680] but now we have to progress it, right, so what we want to do now is to use automation
[11:00.800] for that, so let's say you make a longer pattern, we have this eight bar pattern here, and then
[11:05.840] we have here a second, so we have four bars basically, four bars, and here at the end
[11:12.040] of this bar, we want to draw in some kind of change, right, so what we can do now is
[11:17.960] use the automation, open this up, and say, well, I want to use my cutoff, so I just click
[11:23.560] on the cutoff, and I get this new line here, you can see that's the current frequency,
[11:29.920] and before I progress and draw in some automation lines here, I want to say, for me, it's important
[11:37.080] actually that I define the sound first, then I add some automation to it here in the automation
[11:42.840] lane, and then in the end, when I'm pretty happy with my eight bar loop, how it sounds
[11:48.920] and how it progresses, how it's organically evolving in a small little, in small amounts
[11:54.080] and a localization in a local solar system basically, then later on, I move on to the
[12:02.360] arrangement to the automation and draw in the whole Milky Way, right, so the whole picture,
[12:08.720] the broad strokes basically, so that's pretty important because when you draw in automation,
[12:17.840] you define how this patch sounds like, it's pretty difficult to actually change the patch
[12:24.280] later on, so that's why I'm already doing this pretty late, and I'm trying to draw out
[12:32.520] basically how long I fiddle around with the knobs and find a sweet spot for the eight
[12:40.040] bar loop, and then when I'm settled with all those things and I'm happy how it sounds,
[12:44.920] then I move on to the automation, to the arrangement, so now we draw, so we pretty much do this
[12:50.840] here in a quick way, so it's just for the sake of this tutorial, this would be, you know,
[12:57.200] take much more time when I want to do this in a real track, so here we are happy with
[13:02.840] the kick drum, we are already happy with the sound of this chord, so now we can move on
[13:08.520] to the arrangement phase, so we remember the cutoff knob is really nice to use, so we draw
[13:14.400] in here some automation, I want to say at the end here, from these four bars, we draw
[13:21.760] in some slight little change, something like this, but then I can use this mode, I actually
[13:39.080] don't know how to change this here, oh yeah, it's a time selection, if you press two on
[13:47.200] the keyboard, I always already press one or two to change between the two, so I'm using
[13:53.240] two here to get this, you know, this cursor, and then I can select just here the automation,
[13:58.520] and then just hit control and D to duplicate this, and I get this, right, so now we have
[14:03.320] just duplicated this automation, so right, we have the same sound, it's organically changing
[14:23.040] the sound organically with the modulation, but now with the automation we bring in some
[14:27.800] kind of storyline, we introduce here basically the end of these four bars to go into the
[14:35.400] next bunch of four bars, right, so we kind of define the arrangement when something happens
[14:44.320] without using impacts or sweeps, or you know, these typical noise sweeps at the end, so
[14:55.240] we can do this easily here with just using automation and play around with your sounds
[15:00.360] over time, so now we have this here, so here we have basically a small change, and here
[15:05.360] I want to introduce maybe a longer change, why, because now we have here completed basically
[15:11.960] an eight bar, or eight bars basically, which is kind of a number for club tracks where
[15:24.040] you want to change every eight bars something, so it's basically a whole section, I want
[15:30.120] to call it a whole section, and this is maybe my next stop from the draft, so when I do
[15:37.800] start the draft I probably have here just, you know, two bars or four bars, then I extend
[15:45.040] it to eight bars, then I try to make as much as possible with automation in these eight
[15:50.480] bars before I advance to then 16 bars and so on, right, so here we have the small little
[15:57.320] cutoff, maybe a bit too much, then here we open up much more and also over a longer amount
[16:03.800] of time, so now the listener has a feeling when the eight bars are moving to the next
[16:26.480] eight bar section, right, so you get the feel for this arrangement, you know when something
[16:31.680] happens you introduce a kind of groove or rhythm with this automation for the listener, so
[16:38.240] the listener knows when the drop comes in from the next eight bar loop, or maybe the
[16:43.640] main drop right after the intro can also introduce this with automation of course, so automation
[16:49.680] is pretty important to give the listener a sense of when something happens, when the
[16:55.460] song progresses, you know, when to expect something, so it's pretty important for that,
[17:01.760] so now we open up here the cutoff, we can also now advance to more stuff, so we have
[17:10.320] for instance here this knob here, right, which introduces basically the modulation from the
[17:18.280] filter envelope here to the cutoff, so this is also important, you can now just duplicate
[17:30.400] here this, and you can see I'm not extending here by drawing this out, I'm just duplicating
[17:37.720] this, and this is just for me, I use, I do this all the time, because now I can distinguish
[17:42.520] between, you know, these eight bar blocks, I know this is an eight bar block and I know
[17:47.000] this is an eight bar block.
[17:48.880] So now I can draw in basically here the envelope amount, envelope modulation amount, and when
[17:57.160] I click on this, I can see here, we are already here, plus 84, so we can maybe switch to 84
[18:04.240] just to make this a round number, I kind of like this.
[18:08.240] Bring this in here, and say the second bar here is at 84, and the first is maybe a bit
[18:18.400] more toned down, something like this.
[18:24.080] Basically let's go for 24, just have a round number.
[18:40.440] So now we have basically a small little change, we have this eight bar loop where we have this
[18:44.920] toned down cutoff here with a different envelope modulation, and here we have a second part
[18:53.960] where we have the envelope modulation way more open, so it changes the sound more drastically.
[19:01.920] So we have already the same sound with a bit of modulation on it, and then a bit of automation,
[19:07.440] we already made two versions of this main idea.
[19:13.840] So I don't make drastic changes, but I make certain changes at certain points, which leads
[19:21.360] to this kind of arrangement, and it gives you this impression that something progresses,
[19:26.600] that something happens in your track, and yeah, we can move on, we already have the convolution
[19:33.440] reverb here, so I remember that this one kind of sounds nice, so maybe we draw in that,
[19:41.480] so maybe we start here at the beginning to have this convolution all the way up.
[19:48.880] We slowly get out of the reverb here over time, and maybe at the end we bring it back
[20:09.840] in, now the delay sounds very nice, so maybe we use the mix knob, and go on this in, and
[20:35.440] maybe bring this down here, so we have a lot of possibilities actually to make something
[20:42.040] with your sound, to progress the sound without even changing a pattern, or bringing in a
[20:47.440] new sound or whatever, you just use the automation and have some fun with all these parameters
[20:53.080] you remembered from the sound design stage that you can use now to bring in life, to
[20:59.960] breathe in some interesting things over time.
[21:04.400] And the more you do it, the more life it becomes your track, and the more a sense of regression
[21:12.080] the listener gets, so maybe I bring this in, you can see we have already drawn in a lot
[21:16.720] of things, smaller changes, so we have this basically here, to give the listener kind
[21:23.680] of a hint that here something ended, we have one bar, second bar, then something happens,
[21:29.480] one bar, second bar, something different happens, oh no, the change is much more drastic, it
[21:34.840] sounds like there is now a main big section ending and the next big section is coming
[21:40.120] in, and we also have here now a drastic change with the convolution reverb, so this gives
[21:45.720] also this impression that something happened, aggression happened in the song structure,
[21:52.040] and so on and so on, so you basically use automation for that, for the arrangement,
[21:57.280] to get out of this 8 bar loop, to have some fun with what you already dialed in, with
[22:01.840] what you already set, kind of set sound, and you already set pattern with your sound, right?
[22:27.840] That's maybe too much here for the convolution, but you get the idea, so we can now duplicate
[22:42.760] this here, because it's already a nice little small ecosystem of changes, you don't need
[22:48.120] to do, you know, you don't make it too complicated at the beginning, just try out two or three
[22:55.080] settings and play around with the modulation, and see if you come up with some interesting
[23:00.280] changes over time, and it makes it so easy for you later on, the more you do this, right?
[23:07.720] We already now can hear, kind of get away with this easy pattern over, I don't know,
[23:17.520] the curse of one minute, just with automation, to keep it interesting for the listener, maybe
[23:23.040] not that much, but, you know, you get it, you get away with it, basically.
[23:32.440] So what we also can do now is, we remember here, we have this repeat setting, right?
[23:38.160] So we can just click this, and change the note repeats, maybe we go back to three here.
[23:49.600] Yeah, let's listen to go to the end here, and increase, right?
[24:00.240] This could be interesting, maybe it's too much, you have to play around and find a nice
[24:11.320] little, that's too much, let's go over there.
[24:29.080] So without changing any note, just drawing in here automation for the note repeat setting,
[24:34.120] we already get a nice little change at the end here to give the sense to the listener
[24:41.720] that now a big, big part of this whole chunk of eight bar loops is ending, and maybe here
[24:50.120] we introduce a new instrument.
[24:51.760] So let's duplicate this, and bring in maybe some hi-hats, we use the e-hats here, let's
[24:58.280] close this here for a moment, we don't need to look at that all the time.
[25:02.640] So here we bring in some hi-hats, so we are pretty, maybe use repeater for that, I'm not
[25:11.720] sure, yeah, let's do offbeat hat, and just draw this out, so we dial in the sound we
[25:38.200] want, okay, this is also a nice trick I can show you, I'm using here a different velocity
[25:46.520] setting for the first hi-hat, and for the offbeat hi-hat I'm just using this one, maybe
[25:54.120] here, second one, do this even lower, yeah, let's go for that, so you can see the velocity,
[26:03.160] so just a bit, just way less velocity here, also way less near, much more velocity.
[26:10.880] So you get this nice groove, and on the hi-hat, e-hat device we have this velocity setting,
[26:21.280] right, it increases the velocity sensitivity, which means it decides how loud the hi-hat
[26:28.800] sounds on different velocity settings, right, if I pull this all the way up, the sensitivity
[26:41.520] is here 60 dB, so that means the range between the lowest velocity setting and the highest
[26:49.240] velocity setting is 60 dB, which is a pretty wide range, right, so this means the quiet
[26:57.000] sounds or the low velocity sounds are much, much quieter, and the higher velocity settings
[27:03.240] here, hi-hats are much, much louder, okay, so you can use this to your advantage, so
[27:08.680] you can start here with this, the same pattern, which sounds like there's only one hi-hat,
[27:16.600] because all the other hi-hats are in low velocity, and then you pull this down, until you are
[27:34.160] at zero dB, which means all the hi-hat sounds are the same loudness, and it sounds like,
[27:40.840] you know, a boring pattern, so you can use this to your advantage with modulation, of
[27:45.400] course, you can say, we want to start here with a not-so-busy hi-hat pattern, and at
[27:51.640] the end here, we maybe introduce, well, that's actually going on for this, let's introduce
[28:01.280] here a small little change to maybe 20 dB velocity range, right, so we can do something
[28:15.960] like this, maybe let's go for that, duplicate this, and then at the second two bars here,
[28:25.560] maybe we say, we don't want to go back to 60 dB, we want to stay here, and then we even
[28:34.000] want to, let's see, yeah, we want to stay there, or maybe here, and then go even lower
[28:58.240] and bring this down to minus 40 dB, just in the background, okay, so also here, hi-hat
[29:24.120] pattern, pretty easy, just some velocity things, and then we play around with the velocity
[29:29.360] setting and the automation, and you give the listener a sense that something progresses,
[29:34.680] that something happens, and something drastically changes, as you can see, when we close down
[29:39.600] here, basically, the hi-hat automation lane, it looks like a normal, yeah, normal arrangement,
[29:46.160] but, yeah, under the hood, a lot of stuff is actually going on, right, and we created
[29:51.520] all these automations, if you actually don't like to draw in this automation with the mouse,
[29:57.880] I highly recommend to use some of your MIDI controllers, I know a lot of you people have
[30:03.040] automation, some MIDI controllers at home, laying around, nobody uses it, right, so you
[30:10.280] just use this MIDI controller, right click here, say, map controller to key, or map controller
[30:17.000] to controller or key, so you can map it to some kind of knob on your MIDI controller,
[30:22.840] and then play around, just hit play, and use here the automation red, right, and then play
[30:30.280] around and groove with the track, and just play around with these knobs, and change settings
[30:35.280] over time, and dial in the settings at certain points where you think it feels right, this
[30:41.880] is what I also do a lot, because it also leads to different results, but for me, I know exactly
[30:55.120] what I want to paint in, so I use the automation paint settings here, use my mouse, and it's
[31:00.120] also nice to explain things, but when you have a controller, use your controller, map
[31:05.440] three or five values, start to hit play, hit play, play around with these knobs, groove
[31:12.240] a lot alongside with the track, and you have basically all these automation information
[31:18.640] painted in, in no time, and probably at the right positions, you don't need to be that
[31:25.840] precise, right, completely forget about precision in music production, it's, you want to have
[31:34.680] or let's say that in digital audio production, everything is already highly precise, and
[31:42.840] you want to prevent that, you want to have an organic sound, probably, because you get
[31:49.440] a digital correct and precise easily in no time, but with these automations here, I'm
[31:56.680] very, very lousy and loosely when it comes to how I paint it in or how I record stuff,
[32:06.760] right, also with the MIDI keyboard, when I play in some keys, some notes, I'm not that
[32:14.240] precise, I want to have it pretty roughly on the grid, because I want to keep that organic
[32:19.800] feel, that's very important to me, because sounding digital and on the grid is boring,
[32:26.920] in my opinion, right, maybe a clap, huh, also with the clap, you can paint in your easy
[32:37.400] pattern, right, let's say here, and just duplicate this here, draw in the original sound, so
[33:06.840] we have this, and we take your delay one, maybe, or let's take a delay plus, let's take
[33:17.800] here soft, and you already can hear it, right, so this is something you want to automate,
[33:31.240] so maybe you start just slowly at the beginning with a bit of mix, so we can hear the delay
[33:36.480] in the background, and then we bring it in more at the end of the sequence, maybe duplicate
[33:46.520] this here, or maybe let's go even lower than that, and just duplicate this, okay, so we
[34:16.360] have also something you could automate, let's use here the blur amount, and we want to dial
[34:25.720] down the blur here at this point, duplicate this, so we basically remove this whole diffusion
[34:42.200] thing, and maybe also we have this position, we change the delay timing to one, or maybe
[34:58.840] we go down steps two, and one, and here we go back to three, okay, duplicate this, this
[35:17.720] could be maybe interesting when we use a bit earlier here, and let the rebrob or the delay
[35:27.920] some time to evolve, and maybe feedback here, bring the feedback up, let's get this
[35:55.920] doppy feel, okay, so let's duplicate this here, like this, yeah, like I said, you can
[36:15.520] use the second time marker, and just mark multiple things here, and just duplicate this
[36:22.240] shit, something like this, make it, yeah, it's pretty easy actually to do, to come up
[36:52.240] So, here we probably also want to have some kind of
[37:02.800] tugging happening from the kick drum, so we can use here an audio sidechain, of course
[37:08.640] this kick drum is for my DFAM, it's just an audio sample, so we use the master kick output
[37:14.160] here, low rise, let's see, get to the modulation, just a small little tugging, maybe it's
[37:44.080] too much, so yeah, this is how you bring in movement in your arrangement, so things change
[37:59.880] over time to give people an idea of your arrangement, so when something happens, when to expect
[38:09.800] something, but here you can see the patterns are basically the same, it's all the same
[38:14.560] pattern, all the same blocks I'm using, it's just the automation that does the heavy work,
[38:21.800] and I not even used some noise sweeps or impacts, you can even use that additionally at the
[38:30.680] top at the end, bring in here maybe a crash, an impact sound or a reverse sweep to even
[38:39.720] more emphasize that something progresses, that something changes, that a big chunk of
[38:45.720] your track is all finished and comes to the next part, to the next section, so you get
[38:53.040] this feel or you give this listener a feel of progression, so this is what I want to
[38:59.000] talk about today in this video, to actually show you what you can use the automation for
[39:03.840] and how to use it, so you have a sense of what to use when, so to recap this, you dial
[39:11.200] in a sound, you create a sound, you scan while designing the sound, you scan for nice little
[39:17.840] knobs, you can automate or you can automate or automate or modulate later on, then you
[39:25.400] add some modulation to bring in live to the sound without changing it too drastically,
[39:32.680] basically, and then you create patterns, you duplicate these patterns and then use automation
[39:42.600] to draw in certain things to give the listener a feel of progression, so that's how I use
[39:49.840] it, but this is just a rule of thumb, right, it's also possible that you change the sound
[39:57.680] drastically with automation already, it depends on the sound you're going for, right, if you
[40:06.280] have like, let's say you make some, that's what I see all the time on the internet when
[40:13.960] people do, let's go here, when they do some kind of psychedelic trance, cyclotrans, cytrance,
[40:28.040] that's the name, sorry, you have this kind of thing here, maybe draw in here, it's actually
[40:46.520] in minor, right, but something like this, and then you have here some vocal, vocaloids,
[41:00.680] and use a random mode, and choose your hold and note, then you change the position of
[41:07.040] the Wavetable drastically, or it's actually only one note, right, and then use the different
[41:24.440] one, so you're already changing basically the sound drastically with the modulation, so
[41:35.080] this is also possible, of course, then for the arrangement, you probably have to do another
[41:41.480] trick where you have like one part playing this sound, and then you go to a different
[41:48.440] part here in the arrangement, and say, well, I switch to a completely different sound,
[41:54.080] maybe use your different Wavetable, or I change, instead of the Wavetable, I'm changing
[42:03.040] the pitch, or the pattern, or the rhythm, whatever, so you need to make drastic changes
[42:16.120] then in another way, but usually, when you do, let's say, tracks or club tracks where
[42:25.680] you don't have local drastic changes and you have slow changes over time, then this is
[42:30.920] the best method of basically parting what to use, what for, so patterns, automation,
[42:40.920] modulation, and so on, so yeah, this is just to give you a rough idea, because I had this
[42:47.360] conversation with one of my students, one of my patrons who wanted to talk to me two
[42:52.040] hours on my coach plan, on my coach tier, so we talked about this, and I gave him some
[42:58.400] ideas, and I thought maybe it's a nice video to make for you guys, so you also have an
[43:03.240] idea how to use automation, how to use modulation, and to actually get out of this devilish eight
[43:12.480] bar loop that many people are stuck in, okay?
[43:17.080] So that's it for this video, thanks for watching, leave a like if you liked the video, subscribe
[43:20.600] to the channel, thanks for watching, and I'll see you in the next video, and of course,
[43:24.880] ask some questions in the comments if you have some questions about it, or maybe you
[43:29.120] want to see more of certain things, right?
[43:31.160] Let me know.
[43:32.160] Thanks for watching, and bye.