Creating a Dronie Drum and Bass Track from Scratch in Bitwig Studio
Tutorial | Mar 14, 2023
In this episode of Rack from Scratch, I started with creating a drone using a piano note with a sustain pedal enabled and adding a cluster delay plugin. I recorded the root note and fifth and used a pause stretch plugin to stretch it out. Then, I added a synthesized sound using the grid tool. I incorporated a filter and created a monophonic bass line melody. I went on to add a rim shot and hi-hats, layering a top sound for the rim shot to make it more interesting. I added a reverb trigger using ADSR and probability, and incorporated hi-hats using a pattern and a glitch plugin. Finally, I added a stereo effect for the hi-hats using the blur device, combined with the dry signal.
You can watch the Video on Youtube - support me on Patreon
Questions & Answers #
Maybe you dont watch the video, here are some important takeaways:
Four Important Questions #
1. How do you create a drone material in Bitwig Studio? #
To create a drone in Bitwig Studio, first delete the audio track and use a piano VST such as Stage 8. Enable the sustain pedal and add a cluster delay. Record the root note and maybe the fifth or fourth and stretch it using the free plugin, "The Stretch." You can tweak the settings by changing the buffer length, adding an EQ, and adding melody lines or synthesized sounds on top of the drone.
2. How do you create a synthesized bass sound? #
To create a synthesized bass sound in Bitwig Studio, use the Poly Grid synth with two unison voices and make it mono. Dial in key tracking and frequency tracking and use an auto-level plugin to eliminate dips and make the sound straight. Amplify the resonance to get a full bass sound.
3. How do you create a drum pattern in Bitwig Studio? #
To create a drum pattern in Bitwig Studio, use XO to select random drum samples and choose the pattern you like. Paint in hi-hat notes using a clip, and use probability to change the chance of each drum sound triggering. Use plugins such as glitch or effects like reverb to enhance the sound.
4. How do you make hi-hats more stereo in Bitwig Studio? #
To make hi-hats more stereo in Bitwig Studio, use the Blur device and mid-side splitting. Remove the mid signal from
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] Welcome back to a new episode, Rack from Scratch, where I build something inside of Bitwig Studio
[00:06.720] from the Scratch, with no idea at all how to start or what to expect.
[00:12.560] I mean, I have a rough idea, I have always some kind of rough ideas when I start and I start
[00:17.400] in different ways, on the same ways.
[00:20.160] So usually what I do first is I create some kind of drone.
[00:24.720] So here the audio track, we don't need that, so delete it.
[00:29.120] And how we can create some kind of drone material, we could use, for instance, the easy way
[00:35.520] would be to use some kind of piano.
[00:38.480] So what I usually do is I'm using a piano tag, stage 8, which is super cheap, or not cheap,
[00:49.440] it's one on the box, so it's not super expensive, creates a lot of nice pianos, we can use
[00:56.640] here the MK1, what is, you can enable here the, what's the, the sustain pedal,
[01:08.800] so the sound, you know, sustains after you release the key.
[01:12.800] So maybe we put some kind of cluster delay on that,
[01:26.080] let's search for a nice ambient space, let's start here with the first one.
[01:46.400] Okay, the sounds cool enough to make a drone out of this, we can take here the whole stretch,
[02:03.120] which is a free plugin, we can use that, and sometimes I put you in the settings I use for
[02:08.320] capture buffer length to 30 seconds, so it's a bit longer, and just record that, and I usually just
[02:17.760] record the root note and maybe the fifth, fourth, something like this, let's see how this works,
[02:26.960] maybe put you at the sim, this loop mode, record.
[02:57.360] Now we can just mute here the input signal, I can play, I can change the stretch amount,
[03:09.680] so stretch this out, we get a nice drone out of these notes, we are just playing here,
[03:17.040] you can even remove here these plugins, and also here the pause stretch, I noticed it's actually
[03:29.120] saving the buffer with the project, when you hit save on the project and reload the project,
[03:35.440] the buffer is still intact, which is really nice, so now we have a nice drone here,
[03:42.080] and we can use this as a backdrop, and we put you some EQ on it,
[03:49.360] and you can start to add some melody lines maybe,
[04:10.480] or we create some synthesized stuff on top,
[04:23.520] let's go for, let's see, we could create something in the grid, pretty fast,
[04:32.320] so we could start by using maybe noise, and just use the modal synthesis here,
[04:51.040] um, pitch ends, we get the pitch input, and we take the ratio, ratio of that, let's go straight
[05:04.560] into the filter, double click, so we are on C3, we take band pass 4, and we take all the way,
[05:12.240] one on 20 semitones here, we also use a value and modulator out here, to modulate the resonance,
[05:24.080] call this here resonance, and then we take more of this, second harmonic,
[05:33.760] it's actually modulated, yeah it's still modulated, nice, third harmonic,
[05:50.320] or somonic, just want to drag this up nice, and input is white noise,
[05:58.480] and we probably also want to use an AD after the noise, we can change the envelope before we
[06:09.600] going into the filters here, and then we go out, and maybe also an AD at the end,
[06:20.960] and we want to sum everything together, and then go into the AD,
[06:30.480] okay, so this should give us some kind of modal sound, okay we need more resonance,
[06:48.960] okay we switch the noise to stereo,
[06:59.360] so we switch here some of these ratios around to get a more interesting sound,
[07:14.800] maybe some of the somonic harmonics could be nice,
[07:30.720] yeah it becomes more wooden if we use your pink, we could also use here SVF,
[07:47.440] or maybe we can also change this here to SVF instead of Xperia, maybe it's better, I'm not sure,
[08:06.480] let's see all the sounds when we switch here, or switch modulate here to SVF,
[08:19.760] oh it's all low parts, okay, let's use here, like that, yeah it switches pretty fast between
[08:38.720] no resonance, and so we need to switch this polygrid into polyphonic mode, get 8 voices,
[09:09.360] okay, maybe let's try this out how it sounds with some delay on it, let's go for cluster delay here,
[09:19.440] again, our ambient space is met up, rhythmic, and the sounds nice,
[09:49.520] and uh maybe,
[10:08.800] Ah, maybe.
[10:18.300] Let's try to spoil my superdance here for the,
[10:24.800] for the really long delay.
[10:26.800] Okay, let's try to see a combination with this.
[10:57.800] So, instead of triggering this with the piano,
[11:01.800] a piano roll over the keyboard,
[11:03.800] actually we used here some triggers,
[11:06.800] 16, I don't know, 9.
[11:13.800] Clock quantizer not clock divider.
[11:16.800] Triggering this here.
[11:31.800] Okay, why is nothing happening here?
[11:36.800] Oh yeah, I see, it's because it's not a monophonic pitch anymore.
[11:55.800] And now we need more like,
[11:58.800] on pitches.
[12:00.800] So we take a value,
[12:02.800] on pitches,
[12:06.800] use a step mod,
[12:09.800] randomize,
[12:11.800] and we use bipolar here,
[12:13.800] randomize.
[12:15.800] Also this bipolar modulate this.
[12:23.800] And attinuate, we can change here the slightly,
[12:27.800] sample and hold.
[12:31.800] So we sample this value,
[12:34.800] go into quantizer.
[12:41.800] This is our polarity,
[12:43.800] Daldin.
[12:45.800] Also a transpose here.
[12:48.800] Oh yeah, great.
[12:56.800] So instead of this here,
[12:59.800] we use transpose here,
[13:05.800] going to that.
[13:08.800] And maybe an octave.
[13:39.800] So we have a lot of noise in here,
[13:42.800] because of the attack.
[13:53.800] So maybe we can prevent this by
[13:58.800] using a transient split here,
[14:01.800] just put all these reverbs here,
[14:03.800] not only on the tones.
[14:23.800] I think I like the more
[14:25.800] when we had to expire in there.
[14:36.800] And pass what?
[14:42.800] Sometimes I wish you could just
[14:44.800] select multiple of these devices
[14:46.800] and change it here,
[14:48.800] and then everything switches.
[14:50.800] It's the same for the tracks
[14:52.800] when you select multiple tracks,
[14:54.800] and want to just change the input
[14:55.800] for all of these tracks,
[14:56.800] or the output of all of these tracks
[14:58.800] at the same time would be nice to have.
[15:01.800] Maybe a different melody?
[16:02.800] Okay, kind of like it.
[16:15.800] So we leave it at that for now.
[16:20.800] Maybe dial down at the volume a bit.
[16:24.800] Let's add it.
[16:27.800] And create some kind of bass,
[16:32.800] going for the pull-in synth here.
[16:37.800] And we probably also want to play here,
[16:41.800] root note.
[16:52.800] And two voices.
[16:55.800] Or unison two voices.
[16:57.800] Pull device, make it mono.
[17:04.800] dialing in the key tracking,
[17:06.800] with this two C3.
[17:08.800] So we can amp up here the resonance.
[17:10.800] We are exactly at C3 here with the frequency.
[17:17.800] So now we have this problem
[17:20.800] because of the two oscillators,
[17:24.800] right here, fighting with the frequencies.
[17:28.800] We get now this nice little volume modulation.
[17:40.800] And we can prevent this,
[17:43.800] of course, with my auto-level fancy plug in here,
[17:47.800] which is kind of a compressor also in a way.
[17:52.800] But when I pull this down here at the fall,
[17:59.800] I can completely remove here all these dips
[18:06.800] to make the sound a bit more straight.
[18:10.800] And also, at the same time,
[18:12.800] bring everything up to zero dB here,
[18:14.800] because that's what this auto-level does.
[18:16.800] It brings everything up to zero dB.
[18:19.800] To pull this down to minus four, maybe minus three.
[18:24.800] And I also want to probably go down one octave here.
[18:34.800] Now we have to come up to some genius bass line melody.
[18:39.800] Maybe I start on the fifth line.
[19:09.800] Maybe something like this, I don't know.
[19:16.800] So here I switched basically from C3 to C4,
[19:29.800] which just moves the filter up one octave.
[19:34.800] So I'm amplifying with the resonance
[19:36.800] basically the second harmonic of the bass sound,
[19:39.800] because the bass still plays the C,
[19:42.800] or actually here, it's the G sharp.
[19:46.800] But here I'm moving this up to C4.
[19:49.800] I'm going basically up to the second harmonic,
[19:52.800] and the key track here basically pulls it down to G,
[19:56.800] the first harmonic to G, G sharp.
[19:58.800] So this is how it works.
[20:00.800] Amplifying basically the second harmonic of the bass.
[20:09.800] So this one here, right?
[20:15.800] So it becomes a bit more audible when I'm playing these low notes.
[20:20.800] You have to sub here, and then you get a bit more of the second harmonic here.
[20:32.800] That's a bit of distortion on there.
[20:45.800] So you can put this here in monophonic mode.
[21:03.800] Bass.
[21:05.800] So maybe we can add some pad sounds here.
[21:10.800] I probably also want to stop this here from playing all the time, so I'm using a select.
[21:18.800] Actually not that.
[21:22.800] Select.
[21:24.800] And only let the audio pass through when we hit play.
[21:33.800] Okay, so when it stops, it stops.
[21:36.800] So here this is some kind of pad sound that we paid in slowly.
[21:43.800] So we probably need a lot of unison.
[21:45.800] We need a low pass filter.
[21:47.800] I want to increase here the resonance.
[21:54.800] Go probably over here.
[21:57.800] Something like this, right?
[22:07.800] Actually, that's quite nice.
[22:11.800] Make this longer.
[22:34.800] Oh, let's use the chorus here.
[22:53.800] Do we see a delay plus with the facial model, which gives a nice reverb.
[23:04.800] A bit of ducking.
[23:18.800] And because we have here the filter oscillation on, we probably have a lot of low end.
[23:25.800] Yeah, this one here.
[23:28.800] From the, I don't know.
[23:32.800] Or sampling or whatever.
[23:35.800] So I cut this out.
[23:43.800] So this is a bit too often for my taste here and what, what, too fast.
[23:48.800] So I'm scaling this up to 200%.
[23:59.800] Okay, then we can maybe use the fifth.
[24:16.800] Maybe one more.
[24:31.800] Oh, not really sure.
[24:51.800] So maybe I'll just leave it.
[25:11.800] Okay, I'm okay with this.
[25:35.800] Let's add a kick drum.
[25:44.800] I'm already here having a default preset for my kick drum.
[25:48.800] I'm usually tuning to G0.
[25:52.800] But it's not like that I want to end up on G0 because most of the pitch modulation and decay I'm end up on whatever.
[26:01.800] This is usually my go to default preset FX2.
[26:11.800] So EQ on the top and cut everything out.
[26:18.800] The distortion on the top.
[26:26.800] Okay, EQ maybe a bit of distortion on all bands.
[26:35.800] Too much.
[26:44.800] Something like this.
[26:48.800] Maybe you can use your contribution.
[26:52.800] But that, I have some stuff actually on my hard drive somewhere.
[26:58.800] Let me see.
[27:02.800] Music production.
[27:04.800] Then I have my earpuck.
[27:10.800] Then very tiny room there.
[27:16.800] Let's try this one.
[27:26.800] You know, just to add some tonality on top.
[27:29.800] Maybe a frequency shifter.
[27:40.800] I think it's okay.
[27:45.800] Oh, this is sound in front.
[27:49.800] Not much different.
[27:59.800] So this is the kick without everything.
[28:05.800] I'm not sure if this is the right kick.
[28:07.800] I have to hear the kick drum in the context of the other drums.
[28:10.800] I have to make adjustments later on probably anyway.
[28:13.800] I'll just leave it at that.
[28:15.800] I think it's an okay kick drum.
[28:18.800] Maybe too much top end here.
[28:28.800] Okay.
[28:31.800] So we take some samples here.
[28:34.800] I probably want to actually add 110 BPM.
[28:38.800] It explains a lot.
[28:42.800] Let's put in a snare.
[28:46.800] Let's actually take a rim shot.
[28:49.800] I like rim shots for some reason.
[29:05.800] I have to record some rim shots at some point.
[29:09.800] For myself, I always search a lot of...
[29:12.800] I waste a lot of time searching for the right rim shot.
[29:15.800] So here I'm going for...
[29:17.800] I want to go for 170 BPM, which is drum bass.
[29:20.800] But then I also make a half-time pattern, kind of.
[29:24.800] So I leave out one snare.
[29:29.800] I had to go on here for 170.
[29:36.800] Instead of the right drum bass, I just leave out one snare here.
[29:44.800] The first one.
[29:45.800] We could also go here for this, which is perfectly half-time.
[29:51.800] But I'm just going here for drum bass pattern.
[29:53.800] So it's easier to mix with the drum bass tune because it's not...
[29:57.800] When you mix in basically a two-step pattern with a different drum bass track.
[30:04.800] Then you mix in your track and then you have the snare here.
[30:09.800] And then it sounds not so good, in my opinion, in a mix.
[30:13.800] So what I usually do is just leave out the first snare.
[30:17.800] So when you mix in, you come from a different track into this track.
[30:21.800] Then you basically have the snare from the first track here.
[30:24.800] And then your track comes in with the snare only here.
[30:28.800] Just a micro-thought.
[30:31.800] So that's the rimshot sounds a bit too dry on its own.
[30:39.800] So I layer something on top to make it sound more fancy.
[30:51.800] Something like this, I don't know if it works.
[30:57.800] So the top layer we can make a bit stereo here with the hearse effect.
[31:02.800] The one channel is basically a bit delayed, so it sounds more stereo.
[31:19.800] So here with this is basically a tilt EQ, as you can see.
[31:23.800] So we amplify and hear when we pull this down, we amplify the lower frequencies
[31:28.800] and reduce the top frequencies.
[31:31.800] And here we do the opposite.
[31:33.800] We basically remove the lower end and add some high end to that.
[31:36.800] So we count on this, basically.
[31:38.800] We make the low part a bit more waterproof.
[31:42.800] We push the bottom, and here we push the top end, so the layer adds to the...
[31:47.800] So they basically complement each other a bit better.
[31:53.800] It's not always needed, but sometimes I do it that way.
[32:00.800] Okay, so we have this.
[32:02.800] I use my fancy level plug-ins, we keep or we bring up everything to 0dB.
[32:17.800] We could also try out here the convolution on that, let me see, where is it?
[32:26.800] On that one here.
[32:33.800] Or maybe a different room.
[32:43.800] So all these rebarbs here, all these convolution rebarbs,
[32:48.800] are available on my Patreon, of course, I put the pack on there some weeks ago.
[33:06.800] So what we could do here then is maybe rebarb.
[33:13.800] It's the random rebarb trigger here, I've reset for that.
[33:18.800] It's basically an FX grid here, and it triggers every time here the snare is,
[33:24.800] it's basically the snare position.
[33:27.800] We trigger this ADSR, and the ADSR is opening here the mix of the snare.
[33:39.800] Okay, and because this is here another gate, this is the probability,
[33:43.800] so we have dialed in your probability.
[33:45.800] So it's not triggering all time, it's sometimes triggering basically the rebarb.
[33:53.800] Let's see.
[34:02.800] So the problem here is, as you can see, the rebarb fades in and out,
[34:05.800] and basically takes all the tail with it.
[34:09.800] So instead of modulating here the rebarb, I'm going with the rebarb to 100%.
[34:18.800] Take your tool in front, pull the volume down.
[34:26.800] Probably have to put this to mix 50, or maybe 25.
[34:33.800] And now we use here the ADSR to bring up the volume for the input for the rebarb, right?
[34:44.800] So now you can see the rebarb basically can ring out without going with the mix down.
[34:58.800] Just changing basically the input here, maybe we could, we have to put this a bit more in front,
[35:04.800] or maybe I use different rebarb here, maybe the delay plus.
[35:33.800] That's too late.
[35:37.800] And it's better.
[35:43.800] So we have at one point or the other point in the track we have some kind of rebarb on the snare.
[35:49.800] And we pull this even more down to 10%.
[35:56.800] Okay, so now we need some hi-hats, so this is here the snare or rim.
[36:03.800] So we need some hi-hats going for XO again.
[36:09.800] Selecting some random hi-hats was just what I like to do.
[36:28.800] It's a bit randomized, but you know.
[36:31.800] So then we go here for a clip and just paint in some notes.
[36:39.800] This is a nice sound I want to have probably here.
[36:46.800] Oh yeah, the polygrid is now too fast because we switched to 170ppm so I'm slowing it down half time or make it longer too fast.
[37:01.800] Also the bass line here could make it double time basically longer.
[37:16.800] And also this.
[37:22.800] And we need some hi-hats to play this.
[37:37.800] And we need some hi-hats to play this.
[37:55.800] We have some hi-hats here that kind of create some nice pattern.
[38:15.800] Let's put also your fancy on there.
[38:25.800] Okay, let's add some kick drum here.
[38:46.800] Okay, so this one here gets a probability of maybe 30%, and this one goes to 60%, and this one is always 100%.
[39:15.800] So let's add some hi-hats here.
[39:25.800] Let's add some hi-hats here.
[39:54.800] And let's see if we find the replacement here for this one here.
[40:15.800] Yeah, bring this down after velocity here.
[40:29.800] Yeah, duplicate this here, or maybe remove duplicate and remove this here, or even more duplicate, remove this here and only do the end of the pattern.
[40:55.800] Let's do something like this here, repeat.
[41:16.800] Okay, velocity down, and then we take here, we bring this in.
[41:42.800] Okay, so let's add here some reverb stuff.
[41:47.800] Or maybe you can try out the glitch on that glitch plugin.
[41:52.800] Randomize here the pattern. We probably don't want to modulate it in there.
[42:04.800] Just mix in the effect track here and let the dry signal just pass through.
[42:29.800] We can also try to make the hi-hats a bit more stereo, so try out the load device here.
[42:38.800] I could just go to the XO and use here the has effect again, but I want to try here the blur effect.
[42:58.800] Okay, so let's use a chain in that chain, we put the blur device and here we use mid-side split and only remove the mid from the splur device.
[43:23.800] Let's actually go in the mid here and use to completely remove the mid signal.
[43:30.800] So now the dry signal is basically completely sent out on mono, I think.
[43:35.800] There's not really a side signal there, if I'm not wrong.
[43:43.800] Yeah, that's not really something.
[43:47.800] So now it's completely mono, the signal here, but in here we use the blur device and we only take from the blur device the stereo sound.
[43:57.800] And now we can combine basically the blur stereo signal and the mono dry signal.
[44:20.800] Okay, let's put this all in.
[44:33.800] I think this needs a bit of healing here and maybe a bit of distortion.
[44:53.800] Okay, let's do this.
[45:20.800] Okay, so we can tone down the heads even more and put the high heads and the kick and the clap into one group called drums.
[45:51.800] Okay, here we put on a transient control and there's also a website here, let me see.
[46:05.800] Let me show you this here, it's just just a calculator I found on whatever through googling and you type in basically your BPM setting here which is 170 and then you click away or all the ads and then you can see 180 is 176 milliseconds.
[46:23.800] 144 note is 353 milliseconds and so on, we can dial this in here as 181 and 76.
[46:35.800] We get the perfect timing basically on that, maybe 68 is better, 16 notes.
[46:50.800] So we glue basically the heads together with the drums and here I want to remove the low end.
[47:08.800] I want to remove the low end of the reverb and I want to pull this down even more.
[47:20.800] So on that we use my crossover to balance everything out. To kill all the tonality in the drums, I kind of like it.
[47:49.800] So you can see now here everything is perfectly 0 dB, all the bands are basically equally loud, everything is balanced, everything sounds nice.
[47:59.800] I didn't crush anything too hard, it's just leveling the bands, it's basically, yeah, poor men's EQ, match EQ.
[48:10.800] And all of these bands there is a clipper on there so there's no limiting at all happening. But when I surpass here at the 0 dB, it gets clipped and I can also pull this out of the clipper with this one here.
[48:25.800] I can decide if I want to clip more or even less and how it changes the sound I can decide with this here.
[48:35.800] But sometimes with drum bass, I really like to clip the drums.
[48:41.800] But you can see we never surpass here at the wheel. There's also a tutorial on my YouTube page about this, right?
[48:47.800] It's called crossover I think or mastering, that's a playlist, you can find it.
[48:53.800] So now we have the drums.
[48:57.800] We put the bass in here, combine the bass and the drums and call it drum bass bass.
[49:05.800] So again, I'm using a minus 3 dB, which is roughly my number sometimes I go to minus 4 depends on the note and how it sounds together with the drums.
[49:27.800] But usually when the gain staging here is exactly at 0 dB with the auto level, it's speaking at 0 dB. In the chain of the policing, I can just use here this and say minus 4 and the output is exactly minus 4.
[49:42.800] So you can see it's minus 4. I dial in minus 4 and it's minus 4. So it's exactly how I like it. So in here I use the side chain, note side chain to use the kick drum, drums, e-kick, output.
[49:59.800] Yeah, nice. And then I use the signal to duck basically the bass away when the kick comes in. Just a tad.
[50:19.800] And again, do this to your liking, you can change it. So it's more like a taste thing and it's also a mastering thing because you don't want to clash with the bass with the kick drum and so on.
[50:35.800] But usually this kick drum is way above the bass most time, but just to make sure and to give it this kind of feel of bumping feel, I use to always use side chain.
[50:55.800] So again, on this one here, we can also use the transient shaper, transient control on that. And I also push here the sustain, which means everything between the transients gets louder, just a tad, 10% maybe.
[51:10.800] So the blues, the bass and the drums a bit together because you know that the bass reacts to the drums and drums react to the bass and everything sounds like it's coming from one speaker, 10%.
[51:24.800] It's also the same timing 88 seconds here. So on that, we also use across over the balance, the bass and the kicks together.
[51:34.800] And again, I don't want to clip here or to limit, I just want to level out the frequencies.
[51:41.800] So now we can decide if you want to push this track actually to make it super loud or if you want to stay more transparent.
[52:02.800] So and now this is not even loud, it's also perfectly balanced. It's distorting, yes, but I just want to give you an example.
[52:19.800] So this is your showtime loudness minus three, but three loves super loud. We don't actually surpass or exceed the zero dB line.
[52:35.800] So it's basically perfectly distorted, but that's not what we want. We pull this down to minus 10. Give it some space.
[52:50.800] It's probably clipping here anyway, let's see, yeah, minus five already clipping pretty much to minus 20.
[53:02.800] But you still can't hear it because everything you clip with this clip of yours, basically the drums and of the bass and of the, but you can hear it when you clipped up the pads, so when you clip the bass, you can hear that.
[53:22.800] But yeah, it's just, I just put this on to level out all the frequencies. Okay, so we have you now, what's the loudness minus 10?
[53:36.800] It's already pretty loud. Here you go, low to minus 30. I just need some wiggle room later on on the master.
[53:46.800] Minus 11 is also already loud in most in, yeah.
[53:57.800] In most cases. Okay, so now we have drum bass bass bass here. So you can see all the limiting, all the compressing, all the hard clipping is only happening here on the drum bass bass on the drums on the bass.
[54:10.800] And all the transparent highly dynamic pad sounds are untouched at the moment.
[54:16.800] So yeah, maybe let's go to your slow machine on down to slow down basically the hi-ads and mix it together with the original samples.
[54:38.800] It gives it some kind of poly rhythm. Mix it more busy.
[55:09.800] Now it's the perfect time to save the project, actually. So I'm using the randomizer, randomizer, correct name with the rent date.
[55:22.800] Product overriding, okay, daily pineapple heaven. Okay, let's use that save as paste and done.
[55:37.800] Okay, so next up would be to add some more stuff here, maybe to the bass line to support the bass line. So I'm taking here this bass clip, taking it out here.
[55:52.800] And maybe call it lead.
[55:55.800] I just want to play a melody on top. Let's use a polymer.
[56:05.800] And put this here up there. Maybe use here. Let's see, sustain up. Maybe use here.
[56:25.800] Okay, so we have the same note here. Let's try out the multi note and actually use the same note.
[56:52.800] And a fifth above.
[56:55.800] Maybe a low cut.
[57:56.800] I'm not so happy with this one. Maybe I'll pull this down on octaves.
[58:10.800] Maybe slow it even more down to four bars.
[59:11.800] Well, it's better.
[59:18.800] Okay, so we can duplicate here this. So it supports the bass line pretty well actually. It adds something to it.