Building a Techno Melodic Track from Scratch in Bitwig Studio
Tutorial | Aug 04, 2023
In this video, I start with a completely empty project in Bitwig Studio and build a track from scratch. I start by creating a loop with a melodic kick drum using a Grid patch. I then add variation to the pattern by using a note delay effect. Next, I add hi-hats and claps using the E-Hat device and XO plugin. I create a drone sound using PianoTek and Supermassive, and then add melodic lines using the Polymer synth and a note grid step sequencer. I also use various modulators to add movement and variation to the melodic lines. Finally, I create a bassline using the Polymer synth and apply sidechain compression to the bass and the entire music bus.
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 purpose of this video? #
The purpose of this video is to show how to build a track from scratch inside of Bitwig Studio. The video starts with an empty project and gradually builds up the track step by step, explaining each process along the way. The aim is to create a complex and melodic techno crossover track by the end of the tutorial.
What are the main steps covered in the video? #
The main steps covered in the video are as follows:
- Start with an empty project in Bitwig Studio.
- Create a loop and set the BPM to 120, aiming for a techno melodic track.
- Create a melodic kick drum using a Griid patch and a note clip.
- Add variation to the kick drum pattern using a note delay and a second kick drum layer.
- Introduce hi-hats using the E-Hat device and adjust settings for desired effect.
- Add claps using XO and apply stereo and pitch settings for a wider effect.
- Create a drone sound using PianoTech and Supermassive.
- Use the Polymer synth to create melodic lines using a note grid and step sequencer.
- Use modulation and effects to enhance the melodic lines and add variation.
- Create a bassline using Polymer and repeater settings, along with sidechain compression.
What are some key techniques demonstrated in the video? #
The video showcases several key techniques in Bitwig Studio, including:
- Building melodic patterns using custom-created grids and step sequencers.
- Using modulation to control parameters such as pitch, timbre, pressure, and velocity.
- Applying effects like delay, reverb, and convolution to create spatial and atmospheric elements.
- Utilizing sidechain compression to create a rhythmic pumping effect between the kick drum and bassline.
- Combining various devices and plugins to create layered and textured sounds.
- Using MIDI note clips to trigger and control specific events within the project.
How does the video highlight the flexibility and possibilities of Bitwig Studio? #
The video emphasizes the flexibility and possibilities of Bitwig Studio by starting with an empty project, allowing for infinite creative potential. By demonstrating the process of creating a track from scratch, viewers get a firsthand look at the vast range of features and tools available within Bitwig Studio.
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.
[00:00:00] So in this video we built a track from the scratch inside of Bitwig Studio.
[00:00:06] We start completely empty, we build everything step by step, getting slowly
[00:00:13] more complex and then in the end you probably have some kind of track. I try
[00:00:19] to explain along the way what I'm doing and yeah that's the main idea.
[00:00:25] So here we have Bitwig Studio completely empty. That's how I like it because
[00:00:31] everything is possible. So we create just some kind of loop. So I just enable it a
[00:00:38] loop right and then I'm going for 120 BPM because I want to make some kind of
[00:00:45] techno melodic you know crossover something. So we are gonna create just
[00:00:53] some kind of kick drum and I prepared some grip patch here which creates some
[00:01:00] kind of melodic kick drum I really like. This one is pretty interesting here. I
[00:01:05] can create a clip. Inside this clip I just create one note and then I make the clip
[00:01:14] itself pretty short. So I can create this one here. I can also just use the self
[00:01:27] trigger which I implemented in the grid but this time it's something that it's
[00:01:31] also outputting here the the notes or the gate signals actually so you can
[00:01:36] grab it later on for some side chaining. But here I'm using the note clip for
[00:01:44] triggering the kick and I'm just saying this because I want to share this later
[00:01:49] on on my Patreon on the whole project here and also the presets. So we have
[00:01:54] this kick drum here running. Here we go from 121. Why not? So we have this and we
[00:02:04] probably don't want to run this or have this pattern running all the time so we
[00:02:09] want to have some changes later on. So what I'm doing here is I'm using a delay
[00:02:13] note delay and this just offsets the kick drum but I'm putting this into a
[00:02:19] note FX layer with ctrl G and using a second one and the first one is disabled
[00:02:26] so nothing happens. So I have basically two kick drums so the first one and
[00:02:32] the second one is just delayed by yeah 216 notes here. So I can create some kind
[00:02:44] of double time. I'm using a step mode here and the step mode gets all length
[00:02:51] out completely deleted and then let me see when I do this here a bit longer
[00:02:58] sequencing this here half note and maybe here we switch on the delay. Alright so
[00:03:16] we have some kind of variety in the pattern at some point maybe you go to
[00:03:20] 32 notes. It's the same speed but then this one is shorter because the steps
[00:03:29] are bigger or more steps so each step is shorter if this makes sense to you.
[00:03:36] We have this pattern running. We probably also want to have some hi-hats. Let's
[00:03:43] use here the e-hat. You can use some samples if you want to. You don't need to
[00:03:47] use the e-hat device at Bitwig Studio to styling in here. Yeah we also use your
[00:03:57] short pattern one notes. Make this pretty short. Use the velocity settings just to
[00:04:06] accentuate your basically the offbeat.
[00:04:09] Maybe an EQ 5 here and maybe a low cut. Not much. Just a peak limiter here to
[00:04:33] make sure. Okay so maybe we introduce some kind of claps and I want to use here
[00:04:42] the XO for that because it's just simpler to find the right claps or clap
[00:04:54] samples on my hard drive. So I'm combining here multiple. Something like
[00:05:06] this. Then we get a clap here on these notes.
[00:05:19] So a notch certain samples here just to trigger them earlier. And then I also
[00:05:31] can use here the stereo settings here. This one basically uses an has effect
[00:05:38] so it delays the right channel by a certain amount of time so it gets some
[00:05:42] kind of stereo effect. And we also have here the pitch settings. So we can say the
[00:05:53] right channel is slightly pitched or it's pitched differently just slightly so we
[00:05:58] get also stereo effect. So now we basically have some kind of combined
[00:06:06] clap that is pretty wide. Get some low cut in here. You can also use your
[00:06:21] expression modulator on the E-hat. Use velocity to actually make the decay a
[00:06:28] bit longer for the offbeat here. This one here needs to be on never
[00:06:39] sleep, never suspend. This is basically here the drum the bass drum loop.
[00:06:53] All these drums. On this one here I'm using my auto level plug-in so
[00:06:59] everything is basically increased to the zero dB line here. And then I'm
[00:07:06] using the fall parameter to basically dial in. So I think for 120
[00:07:19] drum release time should be 250 milliseconds. Maybe a bit of shuffle.
[00:07:31] Okay so now that we have this we probably want to create some kind of
[00:07:42] melodic layers. What I usually do is to create some kind of drone sound and you
[00:07:50] can create these drone sounds in all kinds of ways. I usually tend to use
[00:07:58] piano tech here. I have to find it piano tech and of course I use my
[00:08:13] keyboard here and I'm going for A.
[00:08:21] And yeah after the piano tech here I just use maybe supermassive just to
[00:08:34] blur the sound. Or we can use here a delay plus with the space
[00:08:39] algorithm diffusion setting here. And then I'm using a poor stretch which is also
[00:08:55] free. Put the C on the throughput and then just record. Just the root, the fifth and
[00:09:10] the fourth. And then we play and stretch this. And smear everything together. And
[00:09:22] then we can even delete here everything before the or stretch because we have to
[00:09:27] see on the buffer and it's saved also with a protract itself. So that's the
[00:09:34] drone. This gives us some kind of rudimentary note or pedal tone or
[00:09:46] whatever. After that we want to create maybe a polymer to make some melodic
[00:09:53] lines. And usually what you do in other DAWs you create some kind of note clip
[00:10:01] here and you know create notes and yeah paint something in. But I want to use
[00:10:09] here some kind of step sequencer for that. So I'm using a note grid. Yeah let's
[00:10:17] use the note grid. They're completely empty. I usually have my presets but I want to
[00:10:21] create everything from scratch. So what we don't need is here basically the
[00:10:26] input, the note input. So we can delete this. Select the device itself then on the
[00:10:30] left side here we use note through. So we just pass everything that goes in from
[00:10:35] the MIDI keyboard to the device. Like we just pass it through even though we have
[00:10:40] deleted here all the note inputs and outputs. Then we want to use a value knob.
[00:10:50] We put this value knob on bipolar setting here and then use a step mode on the
[00:10:57] device itself. Put this also on the bipolar mode here. It dies multiple times.
[00:11:03] Select the first one and just delete this with shift click. Then we modulated the
[00:11:09] value button by maybe 10. Not too much. And then this one here goes into
[00:11:16] quantizer. And because we use a minor it's all the white keys. But in grid 0
[00:11:25] the value of 0 is C but we need A. So we use difference O here. Pull this down
[00:11:33] three semitones because from C to A there are exactly three semitones. Then we use
[00:11:39] the sample and hold. So this transpose basically makes it when I paint in here
[00:11:45] 0. If I did everything this now plays an A instead of C. That's the
[00:11:51] whole thing. I just transpose it basically around. So yeah. So 0 is
[00:11:57] basically the root note. Then we go here into that and we probably also want to
[00:12:04] trigger this in a fancy way. 16 notes. Maybe 9. A clock quantizer here. Put this
[00:12:18] into trigger mode. And then we can here trigger the sample and hold. This needs to
[00:12:33] play much faster. Okay that's fine so far. We also want to
[00:12:48] implement here something early on. And that's that the playback actually stops
[00:12:54] when I hit stop on the transport. So I can use here the play transfer playing.
[00:13:02] But I know exactly later on I want to sequence this right. So I want to have
[00:13:08] some note clips triggering this on and off. So I'm using here a note clip and put
[00:13:13] one note in there. And the pitch doesn't matter here. It's it's that needs to be
[00:13:23] just one note in there. And we grab this note here with the gate in right. We get
[00:13:28] the triggering here. I'll get the signal here. And we trigger here to select with
[00:13:32] this. So every time there's a note playing we switch this on and then the
[00:13:37] triggering here creates the gates. We have to hit play here of course. Oh yeah we need to
[00:13:50] actually delete the note through our cam. So when we hit stop nothing happens. Which is nice.
[00:13:59] So then we need an octaver. Put this here in front of the sample note. I like to have
[00:14:13] everything in front of the sample note because then you see what notes are
[00:14:16] actually getting triggered here by the sample note. We put this on zero and we
[00:14:21] duplicate here the sequence or the step note. And this one gets only 15 steps. One
[00:14:27] step shorter. Which means when you hit play you can see here every time we
[00:14:35] basically loop through this we just step one step shorter or further than this one.
[00:14:44] So they never synchronize only one time in every 16 iterations or so. So we use
[00:14:55] this here for changing the octave. I made it by two octaves. Let's see how this sounds.
[00:15:07] So now the octave shift basically happens in different points in the
[00:15:14] sequence here which makes it a bit more interesting. Okay so now that we have
[00:15:24] this we can rename this here also to octaves. Octaves and this is here
[00:15:33] pictures and then we duplicate this even more. This is number and this one gets
[00:15:42] 14 steps and this one is pressure. Under pressure! This one gets 13 steps. Okay so
[00:15:53] here this will be randomized this one also. And then we do the same thing here
[00:15:58] basically for for timbre and pressure. So this is timbre, this is pressure. Also
[00:16:07] use a sample note here and that of course we want to have a pressure setting and a
[00:16:15] timbre setting for each note differently instead of changing it in between the
[00:16:20] notes. Timbre goes here, pressure goes here. Okay and then we probably also want
[00:16:28] to do this for velocity I think. Let me move this up here a bit.
[00:16:37] Goes in there and then we do a velocity 12 steps. God, this velocity.
[00:16:49] Okay yeah it's only modulated by one. Okay so now we have a lot of things here
[00:17:03] moving. So what we want to do now is exchange the wave table for something
[00:17:08] more interesting. I have a lot of wave tables here created. I also want to share
[00:17:12] this on my Patreon pretty soon here. I just collect some stuff. There's also
[00:17:18] something here that that's no fundamental harmonics. It's just random
[00:17:23] overtones without the fundamental but inside of the polymer we can
[00:17:28] dial any of the fundamental by using the sub oscillator on zero. Right it's just
[00:17:35] a sign. So now we can use the expression modulator here to use for instance
[00:17:45] timbre for the index and pressure for the modulation amount here. Let's go for this.
[00:18:05] Maybe we open this up here by 12. So inside of the Xbox here we use a delay
[00:18:16] plus. Oh that's a delay 2. A delay plus with a space algorithm here. And maybe in
[00:18:30] front of this a convolution. I need the device here. And that's what I like to do lately here for
[00:18:42] creating re-robs. I combine delay 2 and delay plus with the diffusion and
[00:18:47] convolution in front. So I have the best of all worlds.
[00:19:14] Yeah we can use the velocity maybe. Or the phase modulation. Octaves. Maybe I play
[00:19:29] this a bit slower here.
[00:19:59] And now we can find some kind of nice melody that we like.
[00:20:23] We can move this down here. So instead of using the pitches output here for the value, which is
[00:20:30] by 10%, you can use also here a mix modulator. And mix or modulate basically
[00:20:37] the pitches here. The slider A by 100%. Just duplicate this here and modulate B with this.
[00:20:54] So on here we can maybe delete certain points. Or right click and say transform and inverse.
[00:21:10] Reverse. Right. And then just instead of modulating our pitches, the value here,
[00:21:17] we use the output of the mix.
[00:21:34] So we can switch between this melody and this melody.
[00:21:44] And then we can say here's a step mod. And this step mod plays pretty slowly. So bar.
[00:21:52] So each bar plays in a time frame of one bar. What we do is something like 16 here.
[00:22:00] So each bar takes 16 bars. Right. So we go down to two bars. Second one. And we modulate
[00:22:10] basically this mix up. So we have 16 bars. The first melody and 16 bars. This melody.
[00:22:20] And of course we have to use here the make the loop longer.
[00:22:38] And we can actually move the modulator over here and keep this. Keep everything.
[00:22:53] Actually let's move everything on the global scale here.
[00:23:17] Oh, you can see here the modulation was deleted for some reason. It's probably a bug.
[00:23:28] Oh, I did something wrong.
[00:23:35] Okay. So let's keep that. Maybe we use this later on here for sequencing some different things on other tracks.
[00:23:47] So I want to also introduce your curves module. Put this on bar. I want to have 16 bars.
[00:23:58] To delete everything. Make a light ramp here.
[00:24:07] And put this on roof. Then I want to open up here the filter maybe.
[00:24:18] And maybe increase the delay time.
[00:24:23] Let's see how this sounds.
[00:24:27] Not too much. Just a tad.
[00:25:15] That's okay. We have some kind of transitioning here. Every 16 bars.
[00:25:42] The next step would be to create some kind of bass. For that I'm using also polymer synth here.
[00:25:54] Create a new clip. And we are on A.
[00:26:01] Let's stick to A for now.
[00:26:06] So this is just one note and we want to use repeater probably.
[00:26:15] Let's fast go to three. Put the quantizer there. Put the groove on.
[00:26:25] Here we want to have a bit of noise.
[00:26:40] And polymer should be on monor, monophonic. We only want to have this monophonic mode so we don't overlap with some bass sounds.
[00:26:59] Okay, this is nice. Then we create here maybe a step mode to bring in some variety.
[00:27:14] Eight steps. Then we modify the repeater setting.
[00:27:33] Okay, so here we use transpose then because we want to change the pitch of the notes.
[00:27:42] We want to change the pitch of the notes here. And you can see the note transpose for me has a different default setting.
[00:27:49] I've already in place a step mode and a sample and hold.
[00:27:54] But for you, I want to show you how this is built. So I'm using a sample and hold.
[00:28:00] Sample and hold is on gate mode so we trigger basically a sample every time we have a note.
[00:28:07] We put this here on hold. So every time we get a note from this note repeater here, we sample a value.
[00:28:12] And the value we input here with the input knob with a step mode.
[00:28:22] Let me put this here on bipolar mode. So here at the end of the sequence we...
[00:28:29] I'll even make this shorter. Eight. We push the pitch here. This up by 12 semitones.
[00:28:50] So we can create a bit of variety even though we have only just one note in here.
[00:28:55] And to make sure this is in the right scale, we use a key filter here with a minor.
[00:29:07] But instead of modifying this here directly and this...
[00:29:13] What's the wrong... I think you have to modulate the input.
[00:29:18] Then use the output of the sample knowledge here with the semitones. 12. That's the right way of doing it.
[00:29:27] And that's it.
[00:30:00] You can even try to put in here a slight delay. No delay. Yeah, no delay.
[00:30:07] Delay this by two 16th notes. So it's more offbeat, right? You can hear first there comes kick drum and then comes the bass.
[00:30:17] But everything is delayed by two 16th notes, which brings most of the times a bit of groove.
[00:30:40] Okay, so P-climata here.
[00:30:55] Yeah, we use here the output of this curve. Use this here for the decay setting.
[00:31:13] Okay, so I put this here on to -3.
[00:31:42] Maybe -4.
[00:31:45] I know roughly the numbers for that because we used the P-climata and pushed everything to 0 dB.
[00:31:52] I know exactly the bass is now peaking at -4 and the kick drum is peaking at exactly 0 dB.
[00:31:59] Right here. -0.3.
[00:32:04] And now I can use on the bass here. I'm using a tool device. Use here not my preset.
[00:32:13] Then I'm using the sidechain, the note sidechain.
[00:32:21] We'll put everything down and choose the kick drum here. It's an input.
[00:32:34] And we call this bass.
[00:32:38] We put here the polymer and the drone into a group and call this music.
[00:32:44] And we also want to have here the sidechain also on the music bus. Maybe not that much.
[00:33:20] Maybe delay us too much.
[00:33:23] Okay, so we're going to do the same thing.
[00:33:30] We're going to do the same thing.
[00:33:33] We're going to do the same thing.
[00:33:35] We're going to do the same thing.
[00:33:37] We're going to do the same thing.
[00:33:39] We're going to do the same thing.
[00:33:41] We're going to do the same thing.
[00:33:43] We're going to do the same thing.
[00:33:45] We're going to do the same thing.
[00:33:47] We're going to do the same thing.
[00:34:07] The peak limiter on the music bus here just to make sure.
[00:34:21] What we need now is some kind of lead sound.
[00:34:26] Go for poly synth in it.
[00:34:34] I use the transpose here.
[00:34:38] By 6, I think.
[00:34:42] Transpose up on D#.
[00:34:44] They can play the black keys.
[00:34:49] And utilize the bandatonic scale.
[00:34:53] Delay plus.
[00:35:01] Maybe convolution here.
[00:35:10] Put the seal on.
[00:35:13] Unison up.
[00:35:34] That's the pitch.
[00:35:36] Pitch is here.
[00:35:50] Maybe sound a bit too much, 80s, too much synthwave,
[00:35:53] so you can try and use different lead sounds, whatever I want to use.
[00:36:16] So we just record something here.
[00:37:43] Maybe use a different wavetable, yeah?
[00:38:14] We have to do something on the master, so I'm using a quick trick for FX3.
[00:38:22] In every band, I'm using a limiter.
[00:38:39] And a clipper.
[00:39:29] We have the lead sound here, it's too loud.
[00:39:32] I want to have more of the background.
[00:39:40] Okay, so now we want to create some kind of percussions,
[00:39:43] and I usually tend to use Atlas for that.
[00:39:51] You have a preset for Atlas, basically, I have in every slot,
[00:39:56] you have a percussion sound already.
[00:40:02] Right, it's the same sound, but now I can just press on new kit here,
[00:40:06] and it loads in from my hard drive some random sample in there,
[00:40:10] which is a percussion sound.
[00:40:15] I really like to have it this way.
[00:40:18] So I'm creating here a new note clip, starting on C1.
[00:40:26] I can create just some simple patterns.
[00:40:48] Maybe play around with the pitch.
[00:40:55] Oh yeah, you can select everything here.
[00:41:06] Maybe put a blur on it.
[00:41:16] Maybe in front here an echo, a note echo.
[00:41:22] Repetition is zero, three, change the pitch slightly.
[00:41:45] Make sure this is on the grid, I'm using a quantizer, a shuffle on.
[00:41:58] And maybe then a peak limiter.
[00:42:05] Probably also don't need low frequencies here, so I'm cutting this away.
[00:42:27] Maybe delay, a note delay.
[00:42:56] Okay, so we have some percussion sounds here, you can put this in a drum screw.
[00:43:14] What we also can do is we put this here into an instrument layer,
[00:43:18] and switch this to an instrument selector.
[00:43:21] Duplicate this and the second thing here gets a different setting, with note delay.
[00:43:33] And a different sample set.
[00:43:59] So we can again use here, from the global project panel, we can use the sequencer.
[00:44:05] And switch this every 16 bars.
[00:44:27] Let's use the scarves and increase the feedback here.
[00:45:25] Up here.
[00:45:28] Maybe we can pitch this up, one octave.
[00:45:39] Transpose this.
[00:46:38] Okay, so let's save this.
[00:46:49] Let's see here, man.
[00:46:56] And then we can slowly start to arrange this in a way,
[00:47:01] or maybe create some more modulations we can use later on.
[00:47:11] Let's use the macro here, call this "ression".
[00:47:23] Let's use this here, bass mod, the lead sound.
[00:47:38] Let's go for the bass.
[00:47:48] And maybe...
[00:48:03] Or we can do this actually the other way around.
[00:48:08] Just modulate this back here, zero.
[00:48:49] Let's filter on now.
[00:49:03] And filter on the drone.
[00:49:21] And maybe also the percussion sound.
[00:49:50] Where's the fucking filter?
[00:50:33] From the bass here, I wanted to change also the speed setting.
[00:50:53] Some gate.
[00:51:04] Lapse, okay.
[00:51:10] Let's be fair this out here.
[00:52:04] This is already some kind of small arrangement.
[00:52:38] Yeah, something like this.
[00:53:42] Kind of like it.
[00:53:50] Oh yeah, we put the claps here out of the sequencer.
[00:53:57] Commute this.
[00:53:59] Oh, stop this.
[00:54:05] Then we just record everything here.
[00:55:12] Okay, and yeah, we have some kind of micro on my arrangement already.
[00:55:18] There's probably some stuff I want to remove in the intro.
[00:55:23] Maybe the claps.
[00:55:27] What's this?
[00:55:29] Maybe here.
[00:55:33] Maybe start even here.
[00:55:36] One minute mark.
[00:55:43] Maybe also.
[00:56:57] I mean, that's not a good idea to have this.
[00:57:04] I probably want to use this here.
[00:58:11] This is what I would do.
[00:58:18] It starts okay.
[00:58:19] There needs to be a lot of filler sounds and effect sounds just to, you know,
[00:58:23] I like the fact that it's actually a super simple track.
[00:59:11] That could be nice to have your different up sound.
[00:59:15] Maybe put this here into an instrument layer, then an instrument selector.
[00:59:25] And the second one here.
[00:59:37] And wave table.
[01:00:00] I changed the first one.
[01:01:25] Sounds a bit better.
[01:01:26] The seven setting here.
[01:01:34] I put this in the top layer.
[01:01:40] Bottom layer gets a different setting.
[01:02:55] Sounds okayish.
[01:02:58] Maybe not the right settings for everything so far, but I kind of like it.
[01:03:04] Maybe we need some fade-ins here and there.
[01:03:09] I think I created some kind of riser settings.
[01:03:27] Probably need an old clip as an input.
[01:03:37] Too much revolve.
[01:04:47] Bounce this hand.
[01:05:43] I think the bass needs something.
[01:06:40] And here the bass.
[01:06:49] The bass plays different notes.
[01:06:52] Let me see.
[01:06:57] I'm gonna make this twice as long.
[01:08:23] Maybe I'll layer this, layer the bass sound here with a different sound.
[01:08:34] Not sure if this works.
[01:09:01] Maybe the delay this one here.
[01:09:22] A distortion.
[01:10:15] One tiser.
[01:10:18] Only eight notes.
[01:11:37] Yeah, and a bit of a cue.
[01:12:02] Let's try a different bass table.
[01:12:37] We can just enable this here.
[01:13:00] And some rides.
[01:13:02] So again, I'm using XO for rides here.
[01:13:05] I've already set up XO with a lot of ride samples in it.
[01:13:12] So I can just load this in, create a clip.
[01:14:23] Let's see what this here also in the drum group.
[01:14:25] Let's see how this sounds.
[01:15:09] Yeah, it's not the best track, huh?
[01:15:31] Probably want to add the reverb here on thisizer.
[01:18:36] Okay, so I probably want to add here at this point some kind of arpeggio.
[01:18:45] What's with the polymer?
[01:18:48] Just do have some different sounds.
[01:19:06] I want to have a...
[01:20:18] I want to have an odd number of notes here, but the sequence is a bit more interesting.
[01:20:54] Maybe a step note.
[01:21:48] I will fix it slowly.
[01:22:40] Now you can modulate this here also with the step note.
[01:24:09] Okay, maybe a piano.
[01:25:09] Yeah, we can use basically the piano to hide the fact that the track has no cont.
[01:25:21] So play a bit around on the scale.
[01:27:16] You know, just recording stuff here.
[01:28:42] Basically just get your MIDI keyboard out and play something on the scale and, you know,
[01:28:49] play a bit around with it and fill up the space in between so the ear has something to catch on.
[01:28:57] It's maybe too much here.
[01:29:10] Maybe you can put some random VSTs on it so I haven't bought them for nothing.
[01:29:45] Also maybe add something like some string sounds.
[01:29:53] I read something by Spitfire.
[01:29:57] Intimate strings, I don't know.
[01:30:01] I need my transpose here.
[01:30:16] Also only in the scale, something in the scale, just pressing notes out of the scale, nothing special.
[01:30:34] So just record this.
[01:31:48] Just to fill up the intro with some musical content here, it's maybe also too much.
[01:31:55] Probably want to have it more minimal.
[01:32:28] Oh yeah, we want to also create some kind of crash sound.
[01:32:33] Oh yeah, I've already also crashed XOR.
[01:32:51] Okay, why is there no sound here?
[01:33:21] What's wrong here?
[01:33:39] Oh, that's a solo button, okay, see.
[01:33:54] Yeah, something basic.
[01:33:57] Maybe too basic.
[01:34:43] Actually, you can sample this here.
[01:34:52] Put this here.
[01:34:59] It's a crash.
[01:35:03] Maybe you also can reverse this.
[01:35:14] And pitch it down one octave.
[01:35:53] Yeah, I'm also using here the velocity sensitivity.
[01:36:04] Create another one.
[01:36:07] A steeper curve.
[01:38:36] Okay, so I want to stop at this point because everything from now on until it's finished,
[01:38:41] it's adding small details, lashing out, transitioning, adding small sounds in the intro, adding stuff in the outro, remove sounds, find sweet spot for settings, and you know, all the little modulations here and there.
[01:38:56] So it's a lot of small detail work that's not pleasant to watch, but it needs to be done.
[01:39:04] And everyone has their own kind of perfectism, how everything should sound.
[01:39:12] So I don't want to bore you basically with this process because maybe it takes another additional two hours to flash everything out.
[01:39:22] And then maybe I'm not happy with the track and I just delete it, like I usually do.
[01:39:28] So I want to show you basically the rough process from start to up to this point, how you find melodies with step sequences, how you incorporate all the little modulations in Bitwig Studio, how to use the synthesizers, and how you make a rough, nice draft of a track.
[01:39:49] And I also want to share, of course, this project with my patrons, all the presets I made in there.
[01:39:57] So yeah, that's just what's the plan for this video.
[01:40:00] So if you like the video, please leave a like, write something in the comments, smiley or something, everything helps.
[01:40:09] Thumbs up, subscribe to the channel, subscribe to Patreon, whatever.
[01:40:13] Everything helps.
[01:40:14] Thanks for watching and I'll see you in the next video.