Exploring Bitwig Studio 5.1: Crafting a Dynamic Drum and Bass Track
Tutorial | Oct 31, 2023
In this video, I demonstrate how I created a drum and bass track using Bitwig Studio 5.1. I utilized the Addictive Drums plugin for the drum sounds, incorporating the link feature to layer sine partials beneath the kick and snare. I also employed various distortion devices and filters to shape the drums and bass sounds, emphasizing the importance of experimenting and finding your own unique sound.
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Questions & Answers #
Maybe you dont watch the video, here are some important takeaways:
How did the creator use Bitwig 5.1 in this drum and bass track? #
The creator used Bitwig 5.1 for the drums by exclusively using Addictive Drums and adding Bitwig native effects for processing. They also used the link feature in Addictive Drums to layer sine partials beneath the kick and snare. Additionally, they utilized various effects and plugins for shaping and distorting the drum sound.
What approach did the creator take in creating the bass sounds in this track? #
The creator primarily used the Phase-4 synthesizer for the bass sounds in the track. They applied hard clipping to add grit and harmonics to the sound. They also used automation and modulation to add movement and variation to the bass lines.
What techniques did the creator use to mix and shape the overall track? #
The creator used a crossover plugin to separate the drum and bass frequencies and apply individual processing to each band. They used clipping and EQ to shape the sound of the drums and bass separately. They also used the loud split feature in Bitwig to remove unnecessary frequencies and level out the dynamics.
How did the creator approach the composition and arrangement of the track? #
The creator started with an initial idea for an ambient track and built upon it to create a drum and bass track. They experimented with changing time signatures and harmonies throughout the track to add interest and variation. They also utilized randomization features in instruments like Generate and Synthplant to create unique sounds and textures.
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] Hey folks, welcome back to another video. Initially I wanted to show you how to make a nice low-fire
[00:00:06] track in Bitwig Studio from scratch, but Beta3 has some bugs, so I switched over to this
[00:00:11] one here. And I created this drum bass track yesterday, and I want to show you some things
[00:00:17] how I used Bitwig 5.1 in this situation. So as you can see here in the top, it's 172
[00:00:27] BPM. I switched from 4/4 to 17/8 in the main part, and then back to 4/4. So this is how it
[00:00:37] sounds. I'll show you the track first, then we talk about it, okay?
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[00:01:59] - Okay, so this is how it works, kinda.
[00:02:02] So there are multiple special things on this track.
[00:02:07] So first up, for the drums, I use addictive drums only.
[00:02:11] There's no external layering happening
[00:02:14] in this project at all.
[00:02:16] Everything comes from addictive drums.
[00:02:19] I use, of course, some effects here on the drums,
[00:02:23] on the result, on the output of addictive drums.
[00:02:27] Everything is kind of bitwick native, more or less,
[00:02:30] besides the crossover here and this EQ three at the end.
[00:02:33] But inside of addictive drums, I basically make use,
[00:02:38] and this is special because I never do this, actually.
[00:02:41] I usually just use addictive drums and create a breakbeat
[00:02:44] and then I resample it and then I layer some kick drums
[00:02:48] below it or layer some sine partials below the snare
[00:02:53] or something like this.
[00:02:54] So in here, I basically use addictive drums,
[00:02:56] basically live.
[00:02:57] I use the breakbeat preset here from Fairfax Volume Two.
[00:03:02] I exchange, of course, I think the snare and stuff like this.
[00:03:07] And then I use here the link feature,
[00:03:10] where you can link, basically, the kick drum
[00:03:13] to a different pad.
[00:03:14] So I link this here to Flexi Three and snare to Flexi Two,
[00:03:19] which means, when every time I play the snare,
[00:03:22] I also play Flexi Two.
[00:03:25] And Flexi Two is basically a sine wave.
[00:03:38] So I can layer, basically, some sine partials
[00:03:41] below the kick and the snare, and then I can mix it in.
[00:03:44] You can do this by going into the Flexi pad here
[00:03:49] and then going to triggers, and then you can see here,
[00:03:51] you can select sine 55.
[00:03:54] I think that's the Hertz, 55 Hertz, short, long,
[00:03:57] 220 short, long, and so on.
[00:04:01] You also have some noise stuff in here,
[00:04:04] but I use this basically to layer some sine partials
[00:04:07] below the kick and the snare,
[00:04:09] instead of doing this outside of addictive drums.
[00:04:13] So I wanted to keep everything basically inside
[00:04:15] of addictive drums as much as possible for some reason.
[00:04:20] I had the idea, I wanted to do it a bit differently
[00:04:22] this time, so I did this.
[00:04:25] I kept everything basically intact from the preset itself
[00:04:30] to keep the character.
[00:04:33] I probably exchanged the snare
[00:04:34] and I changed the pitch of the snare
[00:04:36] so it more sounds like a high-pitched breakbeat.
[00:04:41] Let's do this here.
[00:04:45] (upbeat music)
[00:04:47] (upbeat music)
[00:04:50] So this is basically without the main drums.
[00:04:58] (upbeat music)
[00:05:01] All you can hear is basically the Flexi 2
[00:05:03] and the Flexi 3 now, the sine partials.
[00:05:06] (upbeat music)
[00:05:08] I removed a bit of the room here.
[00:05:15] I can dial this in here for a moment.
[00:05:17] (upbeat music)
[00:05:19] So I'd like to kind of keep it dry for drum bass.
[00:05:27] Most of the times I kind of like it this way.
[00:05:30] It's just a taste thing, I guess.
[00:05:32] So it's up to you.
[00:05:34] And that's probably also a main takeaway from this video,
[00:05:38] hopefully that a lot of this stuff is actually,
[00:05:41] there's no right or wrong to do things in a certain way
[00:05:45] because people always look for,
[00:05:47] you know this one workflow that gives me exactly
[00:05:50] every time the same thing,
[00:05:52] but you can do it in so many different ways.
[00:05:55] For instance, I never did this in this way.
[00:05:57] Keep everything inside of the drums the first time, right?
[00:06:00] But you can tweak it in so many different ways
[00:06:04] and dial in so many different distortion devices,
[00:06:08] any cues at certain points
[00:06:09] to get the same sound basically.
[00:06:12] So it's not always a workflow thing.
[00:06:14] So you can do it, do things in many, many ways
[00:06:18] and get to the same result or the same outcome.
[00:06:22] It's almost more like a taste thing.
[00:06:26] You have to kind of build your own taste chart
[00:06:31] in your brain, right?
[00:06:32] So you know exactly what to dial in,
[00:06:34] how a snare sound, how a snare should sound,
[00:06:37] how a kick drum should sound and so on.
[00:06:39] What it needs to, you know, what you need to EQ and why
[00:06:43] and there's also no right or wrong, it's just taste.
[00:06:47] So I guess my taste is probably off.
[00:06:51] So, but that's how I like to do it, right?
[00:06:54] So this is my sound basically.
[00:06:56] So here I removed the room a lot just to keep it dry.
[00:07:00] On the master, there's still the EQ
[00:07:02] from the preset intact here.
[00:07:03] I don't know if this makes sense.
[00:07:05] (upbeat music)
[00:07:13] But anyway, I keep this in here
[00:07:16] and then I correct everything basically here
[00:07:20] in the chain afterwards anyway.
[00:07:22] So this is how I did it in here.
[00:07:25] I showed you also the link feature,
[00:07:28] what I used here in this preset.
[00:07:30] Okay, so that's it.
[00:07:32] Then in here, I basically use a tool
[00:07:35] to just modify the loudness.
[00:07:36] So there's a transient control in here.
[00:07:39] I am popped with the sustain just to make this
[00:07:42] a bit more pumping.
[00:07:45] Then I use here an FX3 in there.
[00:07:47] There's a filter plus with a lot of push distortion.
[00:07:51] Mid also there's a slight transient control here.
[00:07:54] I think bringing up the attack, just a tad.
[00:07:58] Also filter plus with the push
[00:08:01] and in the high end also push here.
[00:08:03] And the filter is basically, yeah, it's switched off.
[00:08:06] I can probably just disable this here.
[00:08:10] Just to get distortion and basically I use this filter plus
[00:08:13] here as a distortion device.
[00:08:15] And after the FX3, I go again into push distortion here.
[00:08:20] And then I modulate or automate it here,
[00:08:23] the filter frequency at certain points
[00:08:25] just to remove the high end,
[00:08:26] maybe probably in the intro or the mid part here.
[00:08:30] So without...
[00:08:32] (upbeat music)
[00:08:35] Of course, it sounds super thin.
[00:08:38] (upbeat music)
[00:08:41] So I use basically the push distortion devices
[00:08:48] to get a lot of grit and overtones to the drums
[00:08:52] just with this.
[00:08:53] And I really like how it sounds.
[00:08:54] I had at certain point at the sweep device in there
[00:09:00] mixed slightly in to create some room and reverb on it.
[00:09:05] So that's some kind of small reverb
[00:09:07] in the pre-FX of the sweep device.
[00:09:09] And then I dial down the filter a bit
[00:09:11] and then I mix it in a bit and so on.
[00:09:13] But it was too much.
[00:09:14] It sounded too wild.
[00:09:16] And so I like to keep my drums, like I said,
[00:09:20] dry and straightforward and loud and so on.
[00:09:23] So after this, all of that, I use my crossover plug in.
[00:09:29] It's basically band pass
[00:09:30] and each of these band passes or
[00:09:32] of each of these bands here,
[00:09:35] as a Db meter normalizing basically to, I think, peak.
[00:09:40] Yeah, true peak.
[00:09:41] So that every band basically peaks at zero dB.
[00:09:45] Then there is a clipper here.
[00:09:46] I clip everything on each band.
[00:09:48] So I get nice loudness.
[00:09:50] The frequencies are straightened out.
[00:09:52] Without it sounds probably super shit.
[00:09:55] Super shitty.
[00:09:55] (upbeat music)
[00:10:02] Then I go into DS EQ 3 here
[00:10:04] to remove certain frequencies again.
[00:10:06] Here it's the snare drum that's overpowering the mix
[00:10:10] and a bit of the hi-hats, of course,
[00:10:12] and the kick drum here.
[00:10:13] Without it sounds like this.
[00:10:14] It's not too much.
[00:10:17] If you overdo this, right, it sounds too flat.
[00:10:25] So again, it's more or less like a taste thing,
[00:10:33] how you want your drums to sound
[00:10:36] or how they need to fit in into the rest of your track.
[00:10:39] So it's always a back and forth
[00:10:41] to find a sweet spot for that.
[00:10:43] So these are basically more or less like the drums.
[00:10:46] I used here after the addictive drums to plug in,
[00:10:50] I used here some kind of note layer and a note filter.
[00:10:55] Where I filter out basically the kick drum
[00:10:59] and the snare trigger, right?
[00:11:01] I use your note clips where I paint in the kicks
[00:11:05] and the snares and then I filter this out.
[00:11:07] So the kick drum is always on C1, right?
[00:11:10] The snares always on D1 here, like you can see.
[00:11:14] So I can grab this basically on different tracks here.
[00:11:16] You can see it's flashing when the kick drum plays.
[00:11:19] So I can basically go to the bass track here
[00:11:25] and then select your kick only note filter
[00:11:28] from this addictive drums track.
[00:11:31] So I get basically the kick drums as a note event
[00:11:35] and then I use this here to pull down the volume
[00:11:38] to basically have this kind of side chain volume modulation.
[00:11:43] Okay, so these are the drums.
[00:11:48] The bass sounds in itself are basically just phase four,
[00:11:52] more or less, I like to use phase four for bass sounds.
[00:11:55] This is the first one here.
[00:11:57] (upbeat music)
[00:11:59] I think I even don't use here this modulator at all.
[00:12:07] So I can remove this, this also I don't use.
[00:12:09] So the patch itself is basically pretty basic.
[00:12:13] You can see it's just using operator one, operator two,
[00:12:19] operator Y for the noise.
[00:12:21] And then I just modulate here basically this
[00:12:25] R, B modulator.
[00:12:28] And then a lot of clipping, hard clipping here without.
[00:12:33] It sounds super thin.
[00:12:38] So the clip basically does the sound.
[00:12:39] And then I use some automation here at certain points,
[00:12:51] right to bring in a bit of movement
[00:12:53] or some kind of transitioning effect here.
[00:12:55] Yeah, so super basic actually, super simple.
[00:13:01] It's monophonic, so each note chokes the other notes.
[00:13:05] So it's always on point.
[00:13:07] Then for the other bass sounds here,
[00:13:10] just duplicate basically all these patches here
[00:13:13] to a different channel.
[00:13:14] So this is the second bass here I made.
[00:13:16] (upbeat music)
[00:13:20] So basically the same setup, hard clip, nothing really
[00:13:26] in here, just one operator working all the time
[00:13:30] and dialing in the second operator here.
[00:13:34] Just some settings are different, right?
[00:13:35] So it does a different sound to it.
[00:13:38] Then I duplicated this again here for this bass.
[00:13:41] Here's a curve modulator in there,
[00:13:47] modulating some things over time.
[00:13:50] But again, it's the same setup,
[00:13:52] just small little differences here and there.
[00:13:55] You can see the ratio is different.
[00:13:57] Yeah, there's also a pitch modulation in here.
[00:14:02] In a step mode, that changes some settings in here.
[00:14:11] But again, the hard clip basically does the hard rock,
[00:14:15] bring in all these harmonics.
[00:14:17] Again, I duplicated this again here for this bass.
[00:14:21] (upbeat music)
[00:14:24] Then I made the second one here.
[00:14:30] Also phase four, there's a filter on there.
[00:14:33] You can see a modulator, the sweep
[00:14:35] or the joint frequency thing.
[00:14:37] So the sweep thing, or the sweep device
[00:14:41] is really nice for bass sounds.
[00:14:42] I really love how it sounds
[00:14:44] when you have these kind of dirty bass sounds here
[00:14:46] and then you put a sweep on it
[00:14:47] and then you sweep through the frequency spectrum.
[00:14:49] It sounds so nice.
[00:14:53] And I use a crossover at the end
[00:14:55] to straighten out all the frequencies
[00:14:56] to basically the space sound flat as a brick,
[00:15:00] frequency wise.
[00:15:01] Yeah, that's how I did it.
[00:15:05] Then I have here some polymers in there
[00:15:08] for some different bass sounds later on.
[00:15:10] (upbeat music)
[00:15:14] (upbeat music)
[00:15:17] But this part is still kind of work in progress.
[00:15:20] I'm not sure how I want to evolve this track.
[00:15:23] So these are kind of ideas.
[00:15:25] I try to draft here and see how it's going, right?
[00:15:28] It's nowhere near complete.
[00:15:30] It's just some ideas laid out in kind of a form
[00:15:35] of a track more or less.
[00:15:39] Then here I'm using a polysynth for some kind
[00:15:43] of a free sound.
[00:15:44] (upbeat music)
[00:15:46] It's basically using unison here, two voices unison,
[00:15:55] then making the stuff mono.
[00:15:56] (upbeat music)
[00:16:00] Auto level just to bring out
[00:16:03] or to remove these volume modulations
[00:16:06] because you mix two detuned saw waves together
[00:16:10] and then a hard clip to bring out some harmonics on top.
[00:16:13] (upbeat music)
[00:16:17] You can see it's flat as a brick here.
[00:16:19] There's no dynamics in there whatsoever.
[00:16:22] (upbeat music)
[00:16:24] So this is basically drum bass part.
[00:16:31] Also special here on the drum and bass bus
[00:16:33] is where I mix basically drums and the bass together.
[00:16:38] As I'm using again a hard clip here,
[00:16:39] filter plus device, no filter, it's disabled.
[00:16:43] Hard clip again and then I use it to loud split.
[00:16:46] This is a bit interesting.
[00:16:48] I never did this before.
[00:16:49] So this is the drum bass bus alone.
[00:16:53] (upbeat music)
[00:16:55] You can see I removed here all the quiet frequencies,
[00:17:01] all the great stuff from the track,
[00:17:04] removed completely as I switched this
[00:17:09] this band pass, that's not a band pass actually.
[00:17:13] I switched this completely off here, this thing.
[00:17:16] And also the loud part is toned down minus four dB.
[00:17:20] So let's switch this back on here to quiet parts.
[00:17:26] This is basically what I'm removing
[00:17:30] from the drum and bass bus.
[00:17:32] (upbeat music)
[00:17:35] (drill whirring)
[00:17:38] It's basically kind of artifacts
[00:17:43] from the distortion devices and from the filtering
[00:17:46] and mixing together different tracks and so on.
[00:17:48] So there's a lot of noise going on.
[00:17:50] And in a way, if you overdo this,
[00:17:53] it sounds like a bad MP3 in a certain way.
[00:17:57] But if you do it right,
[00:17:58] then you can free up a lot of room,
[00:18:03] you can remove a certain kind of dirt from the track
[00:18:07] without making it clean.
[00:18:10] I don't know how to put it.
[00:18:12] So basically you remove all the unnecessary frequencies.
[00:18:15] At least that's how it sounds to me.
[00:18:17] But if you overdo it, if you do it too much here.
[00:18:20] (upbeat music)
[00:18:29] It sounds like a bad encoded MP3, right?
[00:18:33] Because too many frequencies are removed.
[00:18:36] (upbeat music)
[00:18:39] But in this kind of sweet spot here,
[00:18:48] it works more like a gate, a frequency gate,
[00:18:52] where you remove all the frequencies you don't hear any,
[00:18:56] you don't hear any way.
[00:18:57] So you can free up a bit of space.
[00:18:59] You make it sound more cleaner,
[00:19:01] but it's still loud because of the distortion,
[00:19:03] but you remove all the artifacts from the distortion.
[00:19:06] I think this is how it works probably.
[00:19:09] And then I used to the loud parts.
[00:19:12] It's just a transient bit of the frequencies
[00:19:18] from the transient of the kick and the snare.
[00:19:20] And I found there were too loud, too prominent in the mix.
[00:19:25] So I used this basically to single them out.
[00:19:29] And then I dialed everything down minus 4 dB.
[00:19:31] So I made only the transient
[00:19:34] or the prominent important partials
[00:19:38] I made quieter by minus 4 dB.
[00:19:41] So that's how I used to the loud split in this case.
[00:19:44] (upbeat music)
[00:19:50] (upbeat music)
[00:19:52] It's not much, you probably can't hear it.
[00:20:03] I can't hear it either.
[00:20:05] But there's a bit of, if you hear it on headphones,
[00:20:08] you can hear it as a bit of room,
[00:20:09] small room going free or empty.
[00:20:14] It sounds more like a gate to me.
[00:20:17] So I thought it's a great idea to use this here
[00:20:20] in this situation.
[00:20:22] Okay, so that's the drum bass bus.
[00:20:25] Then the music bus is basically just how I mix down.
[00:20:30] It's completely different than the drum bass bus.
[00:20:32] So this one here has no distortion
[00:20:34] or limiting or compression.
[00:20:36] That's basically just an ambient track in itself here.
[00:20:40] It's completely treated differently
[00:20:43] because I started initially this track
[00:20:47] and I wanted to make an ambient track.
[00:20:50] So I started here making drones and some effect sounds.
[00:20:55] Then I added piano and then I thought,
[00:20:57] maybe I should do some drums.
[00:20:58] And then I said, what, let's do a drum bass track.
[00:21:03] So this was the idea.
[00:21:05] That's why it sounds like it sounds.
[00:21:08] And I used here some generate sounds.
[00:21:10] (upbeat music)
[00:21:15] (upbeat music)
[00:21:18] So this is something I just balanced.
[00:21:24] I made some sounds with generate
[00:21:26] and I bounced everything into audio
[00:21:27] and just let it here in the intro.
[00:21:29] Then I'm using also synth plant for this kind of step sound.
[00:21:35] Here you go here.
[00:21:39] (upbeat music)
[00:21:44] At certain points I change here the sweep joint frequency.
[00:21:48] But this sound basically is just playing every two fourth notes.
[00:21:58] Just to give you some kind of rhythm throughout the track
[00:22:03] because I changed here the time signature.
[00:22:05] I wanted to have something ongoing in a straight rhythm
[00:22:09] going from the start to the finish through the track
[00:22:12] to keep you basically on the pulls of the track in a way.
[00:22:17] And then I change it up here over time
[00:22:19] just to change up the frequencies,
[00:22:21] the tonality, the overtones and so on.
[00:22:23] And I also want to show you that I use actually
[00:22:27] synth plant in my project.
[00:22:29] So it's not like I'm showing off these plug-ins
[00:22:32] on my channel for content.
[00:22:35] I also use this, right?
[00:22:36] So it's not like that I use it all the time,
[00:22:38] but sometimes I use it a lot
[00:22:40] and sometimes I use something different
[00:22:42] just to change things up.
[00:22:46] So here you use synth plant for that.
[00:22:48] I also use synth plant here for different sounds
[00:22:51] for this kind of sequence here.
[00:22:52] And synth plant is really nice for these kind of FX
[00:23:04] tonal, A tonal sounds.
[00:23:08] And what I did here is basically I used control
[00:23:11] and clicking in the middle just to create random seeds
[00:23:15] and find some sounds.
[00:23:16] When I found something I liked and I go sometimes
[00:23:19] in the DNA section here and it did something
[00:23:23] to make it, to tweak it more to my liking.
[00:23:25] I haven't used the Canon patch in here.
[00:23:29] I still like the Canon patch.
[00:23:31] It's not like I don't like it,
[00:23:32] but I haven't used it in here.
[00:23:35] It's actually really great for drum sounds,
[00:23:37] for snares and kicks where you want to replicate
[00:23:40] certain sounds of kick and snare sounds
[00:23:42] and then you layer it up maybe with the real kick drum
[00:23:45] or just leave it in as it is and sample it
[00:23:48] or resample it and then process it a bit.
[00:23:51] So Gino batch is really nice for percussion
[00:23:53] and kick drums and snare sounds, I think.
[00:23:56] But here I just used the randomized seed feature
[00:23:59] for these two or three sounds.
[00:24:04] Then I used generate here, also completely dynamic
[00:24:09] in the middle part here.
[00:24:11] Yeah, and I start basically off at the beginning
[00:24:23] with D sharp minor for ambient.
[00:24:26] And then for the drum bass part,
[00:24:27] I think I switched to a random scale.
[00:24:30] It's not really in the scale.
[00:24:31] I mean, D sharp is still the root key,
[00:24:34] but then I used a lot of keys
[00:24:36] that are not in the scale of D sharp minor.
[00:24:39] And then here I switched to kind of D sharp fritian scale.
[00:24:44] So I tweaked everything pretty randomly, I would say.
[00:24:52] It's not one scale I'm using in this track here.
[00:24:55] So it's all over the place.
[00:24:57] I switched basically time signatures here
[00:24:59] from 4.4 to 17.8.
[00:25:02] I also switched harmonies from D sharp minor
[00:25:07] to random to fritian.
[00:25:11] Yeah, it's all over the place, kind of.
[00:25:15] Yeah, this is also here, not D sharp minor.
[00:25:26] You can see I'm using D sharp then E,
[00:25:28] which is not in the scale.
[00:25:29] A is also not in the scale.
[00:25:31] But it sounds kind of, you know.
[00:25:35] Sounds nice.
[00:25:43] So that's why I did it.
[00:25:45] And this is also one takeaway probably from this video
[00:25:49] that you don't have to stick to certain rules.
[00:25:51] It's just taste thing.
[00:25:53] Your own taste basically rules everything.
[00:25:57] If you want to have your snare sound sound like this,
[00:25:59] yeah, it sounds like this.
[00:26:01] There's no right or wrong, in my opinion, most of the times.
[00:26:05] And you want to surprise people in certain ways.
[00:26:09] So I tried to do some different things here,
[00:26:13] even though everything still sounds like a polarity tune,
[00:26:18] I would say a polarity, typical polarity drum-based tune.
[00:26:25] Still not super great, but you know,
[00:26:28] I like to do it this way and I like how it sounds
[00:26:30] and I like how I tweaked it.
[00:26:31] I like the ideas I did.
[00:26:33] I probably, when I finish this track,
[00:26:35] I probably never want to hear it again.
[00:26:38] But yes, on the master itself, there's only a DSEQ3,
[00:26:45] removing some harsh frequencies.
[00:26:47] Let's go here to the main part.
[00:26:51] Not much.
[00:26:54] Then pushing everything into a clipper
[00:26:57] until it sounds good and not too distorted.
[00:27:01] Then measuring here, basically the loudness,
[00:27:04] you can see we are minus four dB,
[00:27:06] love switches, super loud actually, too loud probably.
[00:27:10] But this doesn't mean anything actually.
[00:27:14] If you remove all the grab I used here
[00:27:17] and make more empty spaces in here,
[00:27:19] you can sound much louder with less loves, I would say.
[00:27:24] It's not so much about the number here.
[00:27:29] I think you can do much more loudness
[00:27:33] with the right frequencies,
[00:27:35] with the right empty spaces in tracks
[00:27:38] and it sounds more even louder,
[00:27:42] even though you have maybe lower numbers.
[00:27:44] So this doesn't mean anything here,
[00:27:46] maybe I would remove here,
[00:27:48] make this a bit more loose,
[00:27:51] not too loud to bring back a bit of dynamics here and there.
[00:27:56] Give the drums room to breathe.
[00:28:00] (upbeat music)
[00:28:02] So yeah, this is a walk in progress here,
[00:28:27] it's not finished, I did this yesterday
[00:28:29] just for fun when I wanted to make an ambient tune.
[00:28:33] So this is how it pans out sometimes.
[00:28:36] So okay, that's it for this video,
[00:28:38] I want to show you basically this,
[00:28:39] how I use Bitwig 5.1 with certain features,
[00:28:43] how I think about making tracks,
[00:28:46] how I try to switch up things when I produce something
[00:28:51] to keep it interesting for me
[00:28:52] and also maybe for the listener
[00:28:55] and some random thoughts about using stuff
[00:29:00] I preach on my channel like using Synth Plant here,
[00:29:03] using Fidder Plus, using Sweep,
[00:29:06] using addictive drums and how I do bass sounds here.
[00:29:10] So there's a lot of stuff in this video,
[00:29:12] maybe you can think about and ask me maybe
[00:29:16] in the comments about it
[00:29:17] or maybe make some comments
[00:29:19] where you think I'm wrong with this, okay?
[00:29:22] That's it for this video.
[00:29:25] Thanks for watching, leave a like if you liked the video,
[00:29:27] subscribe to the channel of course
[00:29:29] and I see you probably tomorrow.
[00:29:32] Thanks for watching and bye.