Drum and Bass like Halogenix, Skeptical, Alix Perez in Bitwig Tutorial
Tutorial | Aug 16, 2023
Discover the art of crafting drum & bass in Bitwig. In this tutorial, we delve into setting the pace at 170 BPM, a typical drum & bass speed, and explore the intricacies of loop creation. We also introduce a custom grid patch named 'Drum & Bass Drums' and demonstrate its sound dynamics. While the patch is available on Patreon, alternatives like random drum bass loop wave files can also be used. The tutorial emphasizes the importance of modulation, the use of different synthesizers for unique bass sounds, and the strategy of building an arrangement progressively. By the end, with minimal compression and limiting, we achieve a deep roller track that's loud and clear. For those interested, the drum preset will be available on Patreon, and there's a possibility of a full track release on Bandcamp in the future.
You can watch the Video on Youtube
In this tutorial, I walk you through the process of creating a deep, techy drum & bass track using Bitwig Studio. I start by setting the tempo to 170 BPM, which is pretty standard for drum & bass. I introduce you to a custom grid patch I've created, called "Drum & Bass Drums," to help you craft intricate loops. I emphasize the importance of modulation and encourage you to experiment with different synthesizers, like Phase Four, to create unique bass sounds. I also share my strategy for building an arrangement progressively. By the end of the tutorial, you'll have a deep roller track that's both loud and clear. If you're interested, the drum preset is available on my Patreon, and I'm considering releasing the full track on Bandcamp in the future.
Thought-Provoking Questions or Insights: #
- Custom Grid Patches in My Workflow: How could using custom grid patches like the one I introduce in this tutorial enhance your drum & bass production in Bitwig Studio?
- My Take on Modulation and Synthesizers: I talk about the importance of diversifying synthesizer choices, like using Phase Four for unique bass sounds. How does this resonate with your own approach to creating a unique sound?
- Building an Arrangement Progressively: I share my strategy for building up an arrangement in a progressive manner. How does this align with your own workflow in music production?
What is the significance of setting the tempo to 170 BPM in the tutorial? #
The tempo of 170 BPM is a standard speed for drum & bass music. By setting the tempo to this speed, I aim to create a track that aligns with the genre's typical characteristics. It serves as a foundational element for crafting the drum & bass loops and overall track.
How does the custom grid patch "Drum & Bass Drums" contribute to the tutorial? #
The custom grid patch "Drum & Bass Drums" is a key element in the tutorial. It allows you to create intricate drum loops with ease. This patch is designed to offer sound dynamics that are tailored for drum & bass, making it a valuable tool for anyone looking to produce in this genre.
Why does the tutorial emphasize the use of different synthesizers like Phase Four? #
The tutorial emphasizes the use of different synthesizers to encourage you to create unique bass sounds. In a genre like drum & bass, where many producers might stick to popular choices like Serum, using something different like Phase Four can help your track stand out. It's all about diversifying your sound palette.
What is the tutorial's approach to building an arrangement? #
The tutorial advocates for building an arrangement progressively. This means starting with basic elements like drum loops and gradually adding complexity through modulation, different synthesizers, and other sound elements. This approach allows for a more organic and nuanced final track, which is especially important for a genre as dynamic as drum & bass.
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 this is what we are creating today.
[00:00:39] I'm going for 170 BPM.
[00:01:08] That's the speed for drum bass usually.
[00:01:13] I mean you could go to 172.
[00:01:16] I'm just creating in my loop.
[00:01:19] It works so far.
[00:01:21] And then I'm using a grid patch I made,
[00:01:25] which is called Drum & Bass Drums.
[00:01:27] It looks like this.
[00:01:29] And I make this available on my Patreon,
[00:01:33] but you don't really need to recreate it.
[00:01:35] You can just use some kind of random drum bass loop wave file if you want to.
[00:01:40] This is how it sounds.
[00:01:44] So this is basically the kick drum.
[00:01:58] This is the snare.
[00:02:00] This is the hi-hat.
[00:02:02] So yeah, that's kind of drum bass loop here.
[00:02:06] And when I hit stop on the transport,
[00:02:08] you can see it switches off basically the audio because it's a self-running patch.
[00:02:13] You can also change the pattern of the kicks and the snares if you want to.
[00:02:20] Something like this if you want to.
[00:02:24] Maybe it's also important to use a note out for later,
[00:02:30] because you want to duck the bass to the kick drum.
[00:02:34] So I'm using here the...
[00:02:36] Let me see.
[00:02:38] This is the trigger.
[00:02:40] And maybe we just triggered us on, I don't know, C1.
[00:02:48] So we triggered the note C1 here every time the kick drum comes in.
[00:02:51] You can see here, you have already a note out.
[00:02:54] And you can use this later on then for the...
[00:02:57] for the ducking of the bass.
[00:03:01] And speaking of the bass, of course, we create the bass next up.
[00:03:06] And I'm going for phase four.
[00:03:08] I could use here whatever I want to use, maybe a serum.
[00:03:11] But I feel like everyone uses serum in a drum bass scene.
[00:03:16] Uses the same kind of tricks and stuff.
[00:03:20] So I always tend to go to different synthesizers just to sound a bit different,
[00:03:25] have different bass sounds.
[00:03:28] So yeah.
[00:03:30] So you can use the serum if you want to, but you can also just use your phase four.
[00:03:35] Just delete here the default modulators.
[00:03:38] Then I'm using here a clip for the bass.
[00:03:43] Maybe make this a bit shorter here.
[00:03:46] Just for the beginning.
[00:03:48] So in here I'm going for E.
[00:03:51] Just as I told you in one of my last videos, or recent videos,
[00:03:55] you can utilize here the white notes if you start on E.
[00:03:59] And use all the white keys or all the white notes from beginning from E.
[00:04:05] You're basically in the scale of E Phrygian.
[00:04:08] It's not C major. It's E Phrygian because you start on E.
[00:04:12] So then in here you can utilize the F, which is a half tone step.
[00:04:16] And these two, which are half tone steps, so it makes a pretty nice...
[00:04:22] It's a pretty nice scale basically for these kind of darker bass lines
[00:04:28] or bass sounds or bass patterns.
[00:04:32] So let's create just one note on here.
[00:04:35] Yeah, that's okay.
[00:04:39] And maybe we just concentrate on the bass alone.
[00:04:45] So we use maybe a sign for the operator one.
[00:04:50] No modulation here. Applied.
[00:04:53] And then we maybe go here to ratio one one and choose a different format.
[00:04:59] It's called format here, but it's usually just an...
[00:05:03] How should I describe it?
[00:05:05] It's just an...
[00:05:07] Kind of an...
[00:05:10] Where's the format here?
[00:05:14] Format, yeah.
[00:05:15] Harmonic inserted as additional sign cycles within the wave shape.
[00:05:21] So you create basically octaves here.
[00:05:25] Here you go to four or three.
[00:05:36] Something like this.
[00:05:39] And I'm going for modulating it.
[00:05:42] Yeah, the modulation amount.
[00:05:44] In the range itself.
[00:05:48] And I don't use the segments because I just find this much faster.
[00:05:54] I can exactly, absolutely paint in where this modulation should be applied to.
[00:06:01] In terms of the grid.
[00:06:04] So something like this.
[00:06:13] Maybe we use here also stain all the way up.
[00:06:16] No release or just a tad of release.
[00:06:19] Select the device with the visor still monophonic.
[00:06:23] We apply some drive.
[00:06:28] It's okay.
[00:06:32] Then in the Xbox here, I want to split the signal into two bands with the FX2.
[00:06:37] So low bands and high bands.
[00:06:39] High band, I probably want to add some kind of reverb.
[00:06:44] Maybe I use a convolution here.
[00:06:48] Right, something like this.
[00:06:54] Maybe I'll use an EQ2 just to make the cut a bit bigger.
[00:07:01] To bring in a notch basically into the waveform, into the sound here and the bass sound.
[00:07:07] Maybe distortion to get more overtones.
[00:07:13] Okay, so maybe go here one octaflow.
[00:07:28] That's better.
[00:07:33] So in here we use instead of only this here.
[00:07:43] We also maybe change the shape.
[00:07:47] So we can start here high.
[00:07:53] Then slowly go down.
[00:07:57] So let's scale this up.
[00:08:17] And then use this here at the end.
[00:08:31] That's too much.
[00:08:57] So in here we maybe can insert some kind of band on the note.
[00:09:25] Maybe two semitones.
[00:09:27] Just make it interesting enough.
[00:09:38] Maybe this is too much.
[00:09:52] So then we duplicate this here to a second clip.
[00:09:57] And in this clip we change some small things.
[00:10:00] Not too much.
[00:10:12] So we have here one operator left or two operators left.
[00:10:39] So we can play around with these.
[00:10:41] This is here ratio six one.
[00:10:45] Maybe we can play this with an LFO.
[00:10:58] Use a classic one here.
[00:11:01] Maybe dot it.
[00:11:03] Then retrigger with the note.
[00:11:09] And then bring in here the purple one.
[00:11:15] I think it's better to just paint it in.
[00:11:35] So we have more control already.
[00:11:44] And then we just select this here.
[00:11:59] Duplicate it.
[00:12:01] So in here we maybe add another note.
[00:12:20] Get me out of this mode here.
[00:12:25] One octafire.
[00:12:27] So you can see we can create some nice movements just by modulating stuff here.
[00:12:52] Adding a bit of FX and yeah.
[00:12:55] Basically three notes.
[00:12:57] Just this and these two.
[00:12:59] So and what you also can do is we can bring in here maybe an EQ five.
[00:13:18] And just notch some frequencies over time.
[00:13:22] So maybe I just record this.
[00:13:32] Something like this.
[00:13:53] Let's see the front.
[00:14:15] So we make sure we hit here the ceiling of zero dp.
[00:14:41] Go to minus three dv.
[00:14:48] And I can also add here the tool device.
[00:14:52] With the note side chain.
[00:14:56] And now we can basically grab the kick drum output here from the drum grid.
[00:15:05] And see the trigger with the kick drum.
[00:15:07] This module later.
[00:15:10] Then we tuck in the bass.
[00:15:35] If you don't like how the bass line sits with the drums you can always go for delay one.
[00:15:58] I do this all the time.
[00:16:00] Delay one is basically on a specific configuration default configuration.
[00:16:05] So the filter is all the way down here.
[00:16:07] So there's no real low cut.
[00:16:08] I mean it's cutting at 20 Hertz but yeah.
[00:16:12] We want to do this anyway probably.
[00:16:15] And then it cuts here at 20K and there's no feedback.
[00:16:19] The mix is all the way up.
[00:16:21] So we basically just offset the pattern coming in here right the bass.
[00:16:29] By two 16th notes.
[00:16:32] So the bass is always two 16th notes later than the kick.
[00:16:41] I don't really like how yeah this one sits with the kick.
[00:16:58] Maybe I need to tweak this a bit.
[00:17:00] Let's try it here super simple.
[00:17:18] Let's try modify here the end for these two.
[00:17:39] The EQ a bit better or different.
[00:17:44] Let's pull up.
[00:17:49] Oh whatever.
[00:18:09] Okay let's add some some synths.
[00:18:23] Pulley synth.
[00:18:26] And we gonna create here just one note clip.
[00:18:32] Inside this note clip I'm using E probably without the note expressions here with the micro pitch expressions.
[00:18:44] I'm gonna restart here.
[00:18:50] Then I'm going for bandpass.
[00:18:55] And lots of unison.
[00:18:59] And this is gonna be also a modulation thing here.
[00:19:08] Just some bit of filtering.
[00:19:28] On this I want to have here maybe a supermassive.
[00:19:31] I probably resampled this anyway here.
[00:19:34] So today it's gonna be some kind of project where I don't use bitwig in its purest form.
[00:19:44] It's more like how I made drum bass 10 years ago or so.
[00:19:49] So let's modulate here the mix maybe.
[00:20:18] And then the delay.
[00:20:19] Okay so.
[00:20:44] And I put here a peak limiter in there.
[00:20:48] Just scratch the surface here at the threshold.
[00:20:52] I probably also want to have a low cut here because I don't need all that stuff down here.
[00:21:01] And I just bounce this here.
[00:21:09] Postfader 32 bit floating point note ditto.
[00:21:17] Let's see if I put, when I put this here I just reverse this.
[00:21:21] And it's a bit quieter.
[00:21:26] Alright so this may be a sound and here I go back to the first sound.
[00:21:41] And I use a different delay setting.
[00:21:44] Maybe not that much feedback.
[00:21:47] Maybe this mode.
[00:21:50] No delay mix time here.
[00:21:58] Yeah let's bounce this.
[00:22:17] Let's see how mute this.
[00:22:20] Then maybe we can play around here with the wave file.
[00:22:25] Oh it's actually not.
[00:22:43] I'll rebounce this.
[00:22:53] Let's cut this here.
[00:22:55] Reverse only this.
[00:23:00] Fade in and maybe one octaflower.
[00:23:03] Maybe this is also an octaflower.
[00:23:10] Fade in and out.
[00:23:45] Just use here consolidate.
[00:23:47] Okay so maybe we can bring in another poly synth here.
[00:23:59] And on this one I'll also use the E.
[00:24:05] This one.
[00:24:07] Get this kind of sound.
[00:24:10] Delay this.
[00:24:37] Right to get some kind of a dub chord type of sound.
[00:24:44] Maybe a different diffusion algorithm here.
[00:24:56] So I bounce this also.
[00:25:05] Put this over here.
[00:25:08] So we make a collection of kind of synth sounds.
[00:25:11] Different setting here.
[00:25:19] So bounce this here a bit longer.
[00:25:33] This one is then reversed.
[00:25:35] I can fade in with this.
[00:25:37] And our original synth here you can just delete.
[00:25:59] You probably don't need to.
[00:26:01] Just to have some source sounds.
[00:26:04] And then we bounce out some stems and reuse them kind of different ways.
[00:26:11] So I also pitched this down here to one octave.
[00:26:15] And then it probably needs here some kind of low cut because we pitched this down.
[00:26:22] And this is kind of how we fill up the frequency spectrum with different stuff.
[00:26:41] I can also use some percussions here.
[00:26:49] So it's basically a preset, a default preset for the XOL-ER for having everything filled up with percussion sounds.
[00:26:56] And then I can use here the internal sequencer.
[00:27:15] Replace the samples.
[00:27:17] Oh, it's the wrong track.
[00:27:38] So the percussions itself are a bit monophonic so we can utilize here the Haas effect.
[00:27:56] So this one basically pitches here the left channel a bit differently than the right channel.
[00:28:15] And this one here delays the right channel by a few milliseconds than the left channel.
[00:28:23] That's the Haas effect. That's how it's called.
[00:28:26] So we are pushing maybe the frequency that's in the rear of E maybe.
[00:28:39] So let's see. This is here B4.
[00:28:43] So let's go for E4.
[00:28:46] Or maybe E5.
[00:28:57] I don't need to do this, but I sometimes like to do this and see if it sounds better, if you push some musical important frequencies in the key.
[00:29:10] Maybe a hard clip here instead of a limiter.
[00:29:21] Maybe a supermassive here.
[00:29:36] It's too much feedback.
[00:29:40] Maybe not too much feedback, it's maybe too much delay.
[00:29:58] let's exchange here the samples again.
[00:30:55] So we can bounce this here also out to a wave file.
[00:31:00] Then put this here.
[00:31:04] Maybe in a second pattern it's a bit different.
[00:31:09] So this is maybe the first part here. It's eight bars.
[00:31:14] Then we switch to a different pattern here.
[00:31:18] And this pattern has different percussions.
[00:31:25] Different samples.
[00:31:54] And here we assemble this again.
[00:31:59] All this part here.
[00:32:02] Post fade out.
[00:32:06] Put this over here. We can delete this track.
[00:32:09] And then just duplicate this.
[00:32:12] Mute this.
[00:32:20] So here we have different percussions.
[00:32:24] So I use different color coding for that.
[00:32:27] So we don't exchange this accidentally.
[00:32:31] And then I'm using an XO.
[00:32:34] I'm using some writes maybe.
[00:32:38] Oh I disabled this. Okay, I see.
[00:32:57] So let's put in...
[00:32:59] It's a bit too quiet for some reason.
[00:33:22] Out is upper cam.
[00:33:27] Let's put in a limiter there.
[00:33:35] I think this sounds better.
[00:33:58] So let's put in a limiter.
[00:34:46] And here I want to probably have some kind of shakers or something like this.
[00:34:52] Okay, so then use here a different write.
[00:35:02] Here we exchange this for some shakers.
[00:35:13] Should be a bit samey.
[00:35:42] Oh yeah.
[00:36:32] So I'm grouping here the sends so I have more control over this whole thing.
[00:36:57] Probably want to also add a low cut.
[00:37:01] Maybe a tool there.
[00:37:06] Or I can use the tool here with a sidechain on the sends.
[00:37:11] Yeah, just put this here.
[00:37:53] So here we can probably do a bit more with some velocity.
[00:37:59] Yeah, it's a bit more humanized.
[00:38:22] Maybe a bit of shuffle.
[00:38:25] Oh, by the way, you can also switch on your shuffle.
[00:38:33] Oh, it's on by default here in the drum base grid.
[00:38:36] So everything you trigger in here is also shuffled.
[00:38:39] And you use the global shuffle.
[00:39:13] So here in this phase, we use more modulation strength, 800%.
[00:39:18] So everything you modulate here is, you know, emphasized a bit more.
[00:39:22] So this is here.
[00:39:27] And here we basically go a bit down.
[00:39:30] Then at the end, we go up.
[00:40:22] You can see, you get automatically basically an arrangement just by starting with a short loop.
[00:40:28] And then you add some stuff and you say, okay, here I'm going for shakers.
[00:40:32] Then I switch to the right.
[00:40:34] Here I'm changing to a different kind of percussion set and so on.
[00:40:39] So you get in all these different alternations and yeah, you basically move on and get here a nice arrangement for free basically.
[00:40:49] So here we can say the rights or the shakers are nice, but I want to maybe have different samples.
[00:40:57] So I duplicate this here.
[00:40:59] So the pattern stays the same, but I exchange the samples.
[00:41:54] So here we have these shakers here.
[00:41:56] This shaker thing, maybe you can do a bit more here with the synths.
[00:42:00] So here, let's see, we face this out and this.
[00:42:10] And this also, maybe I create some new synths.
[00:42:16] "Polly Synth".
[00:42:20] So what I want to say is basically the track itself or the track rights itself.
[00:42:48] Maybe delay.
[00:43:06] So I leave this here.
[00:43:14] Just use a slight, slowly decaying delay.
[00:43:38] Maybe seven or six.
[00:44:10] Hmm, not sure.
[00:44:14] So let's bounce it. Let's see how this sounds.
[00:44:24] Then I reverse this, of course.
[00:44:28] I use it this different setting.
[00:45:16] Yeah, I kind of like it.
[00:45:18] Maybe reverse this here.
[00:45:24] And fill in the blanks with the supermassive.
[00:45:36] Yeah, I use the mix knob here.
[00:45:38] Go slowly up.
[00:46:02] And this is what I want to bounce.
[00:46:08] So I can delete the other one.
[00:46:10] Reverse this again.
[00:46:12] So now it's more like, you know, coming out of the emptiness.
[00:47:00] I can't decide what sounds better, or what sounds worse.
[00:47:38] Okay, so I bounce this here again.
[00:47:44] Delete this.
[00:47:46] Maybe I keep this for later.
[00:47:48] Here I use this reversed for some reason.
[00:47:54] I use this also here, and I push this down one octave.
[00:48:10] Put this here into the...
[00:48:14] ...the synth folder.
[00:49:04] Maybe you can get out some more out of the bass here.
[00:49:08] A bit of distortion.
[00:50:26] So we have a lot of stuff here we can actually use for different things.
[00:50:30] So first I want to bounce here all the different shakers.
[00:50:34] So this is a shaker here.
[00:50:42] I think also this one here.
[00:50:46] So you put this here on the same track. You can delete this.
[00:50:56] You can delete this.
[00:51:02] Different color.
[00:51:04] Here we have some rides.
[00:51:06] You can also bounce.
[00:51:08] If you ask yourself, well maybe I want to change this later on. No, I don't want to.
[00:51:18] If I want to change some of these things I just start a new track and make it different.
[00:51:26] So this is how I see it.
[00:51:38] So these are the drums here.
[00:51:42] This is the bass since it's not needed.
[00:51:54] Maybe it's a bit too loud here.
[00:51:58] This is already running pretty nice.
[00:52:26] So we can put this here on to drop.
[00:52:30] 65 this one minute 29.
[00:52:34] When you have 172 BPM.
[00:52:38] That's basically 888888888.
[00:52:42] Or exactly 64 bars.
[00:52:46] If I'm not wrong.
[00:52:48] So this is the intro here.
[00:52:50] Then you drop into this.
[00:52:54] Maybe without the shakers at first.
[00:52:58] Maybe let's duplicate this here.
[00:53:00] And here we remove the shakers.
[00:53:04] Maybe even without the synths.
[00:53:16] Let's save this.
[00:53:30] So generate here a new name.
[00:53:34] Something random. Save this.
[00:53:38] Put GMB in there so I know it's drum bass.
[00:53:56] So basically remove all the stuff here.
[00:54:22] We just added just to have this one here.
[00:54:26] Not having everything all the time.
[00:54:28] So I'm bringing in here slowly the synths.
[00:54:30] And you have some synth lines here.
[00:54:34] It's not all the time. Everything.
[00:54:36] And then here I'm bringing in the percussion sounds.
[00:54:38] Maybe I put out here some of the synths again.
[00:54:42] So you have some variety and some exchange.
[00:54:46] Some back and forth.
[00:54:47] So it's not always the same thing.
[00:54:49] The same pattern.
[00:54:51] So I'm trying to get slowly more and more filling up the frequency spectrum but slowly.
[00:55:30] Okay, so let's say it's time for the intro.
[00:55:32] And in the intro we have, of course at the moment, only the drums.
[00:55:43] And I want to keep the drums in there.
[00:55:45] I just want to maybe filter it here with the...
[00:55:49] the EQ2.
[00:55:57] To have something in there for the DJ to mix.
[00:56:01] So we keep this in and then we drop this here in.
[00:56:09] All the way down.
[00:56:14] Oh, we have to do it here, right.
[00:56:40] So I keep this in the intro.
[00:56:45] And I probably want to start with some pads.
[00:56:50] Maybe you can re-list here the synthesizer.
[00:57:07] So we take E.
[00:57:22] So we stretch this out a bit.
[00:57:38] Let's try an LFO.
[00:58:16] Offset this maybe by 90 degrees.
[00:58:32] Oh, I think.
[00:59:02] We can utilize this maybe then for the drop here.
[00:59:06] Where we increase the amount.
[00:59:17] Let's bring this all the way down.
[00:59:19] Then we bring this all the way up here.
[00:59:23] To make a slow increase.
[00:59:37] So bring this up.
[00:59:44] 50%. We want to have both oscillators in there.
[00:59:48] And we open up the filter here slightly to the end.
[01:00:01] And at the end we bring the volume down.
[01:00:18] Yeah, it's the best drop ever.
[01:00:46] Output. Oh yeah, it's output here.
[01:00:50] We need to make this steeper.
[01:01:21] Let's see.
[01:01:32] Let's bring the percussion sounds here in front.
[01:01:51] And this is the pads here.
[01:01:55] And we maybe need to add something for them.
[01:02:53] Instead of using an appreciator, maybe I use just some notes.
[01:03:24] Some kind of triplet pattern.
[01:03:40] Something like this.
[01:04:51] So increase the modulation amount here slightly.
[01:05:52] So we have to bring in a lot of sounds to make this actually interesting.
[01:05:57] It's probably the most of the work actually to make the intro interesting.
[01:06:49] So I'm reducing here basically the tripe because I don't like how it brings out
[01:06:54] 100 to 200 charge area.
[01:06:58] I want to have it clean.
[01:07:29] Yeah, the intro is a bit, you know, there needs to be something,
[01:07:35] something in there to keep it interesting.
[01:07:37] The moment it's a bit too thin.
[01:07:40] Drum and bass.
[01:08:07] Let's use a transient control here.
[01:08:21] Cross over.
[01:09:17] On the mouse side, I'll just put you on elevate at the moment.
[01:10:19] Yeah, maybe some of these since you're a bit too loud.
[01:10:26] Yeah, this one here.
[01:10:29] Too much.
[01:11:08] I think I want to also bring the volume down here.
[01:13:30] And we have probably a lot of loudness already.
[01:13:44] We are already at minus six.
[01:13:47] Don't do that much.
[01:13:49] There's literally no limiting here happening.
[01:13:54] Just a tad.
[01:14:21] So just for the sake of this tutorial, I want to cut it here.
[01:14:26] As you can see, I just need to put here some more stuff in the intro to give it more interesting.
[01:14:31] You know, some weird sounds.
[01:14:33] I don't know, something like this.
[01:14:35] Then slowly gaining here up speed, gaining up frequencies, and then drop here into the bass.
[01:14:42] Into this empty, nice little deep roller.
[01:14:45] Then here I'm just exchanging or alternating between shakers and riots.
[01:14:50] And you know, it's just work at this point here.
[01:14:53] You have to, this is basically the main idea here.
[01:14:56] This small little section here with the drums in the bass.
[01:15:02] This is basically the whole track.
[01:15:04] The rest is just edits and adding some percussion sounds and flashing out transitioning sounds and so on.
[01:15:14] But you can see just by doing this in this way, I'm doing it here.
[01:15:19] I'm using literally no compressors, no limitors, just a bit of hard clipping here.
[01:15:25] The drums are already pretty loud with my preset here.
[01:15:28] Is there something on there?
[01:15:30] Yeah, there's a compressor on there.
[01:15:34] And then side chaining everything, you get a lot of loudness just by doing this.
[01:15:39] And now I've already had the intro. All you need to do basically is add your middle part.
[01:15:47] And then from the middle part, you basically go back into a drop, maybe change up the bass a bit.
[01:15:56] Change here some bass patterns at the end of some sequences.
[01:16:03] Right, instead of just this doing maybe something completely different here.
[01:16:09] I don't know, maybe bring in a different bass sound or multiple bass sounds.
[01:16:21] Or maybe use some kind of pitch bend.
[01:16:38] Something like this. And then basically flash out the whole track.
[01:16:42] It's from this point or from where I created here, this small part on, it was just work.
[01:16:50] It's not that creative anymore.
[01:16:52] I mean, you can be creative in terms of what kind of percussions you use, but it's not like that you get stuck on something.
[01:16:59] It's just work. That's my point.
[01:17:02] Okay. Thanks for watching.
[01:17:04] I upload here this drums preset on my Patreon.
[01:17:10] And maybe also the whole project here up to this point.
[01:17:15] And maybe I do a full flashed out track in the future from this and upload it then on Bandcamp.
[01:17:22] Okay. Thanks for watching.
[01:17:24] Leave a like if you liked the video and subscribe to the channel.
[01:17:27] See you in the next video. Bye.