Making Music with Bitwig Studio in 2025

Tutorial | Jan 15, 2025

In this video, I delve into creating a melodic track in Bitwig Studio, starting with a foundational drone and building up with various synths and effects to craft a unique sound. Throughout the process, I experiment with different instruments, modulation techniques, and external gear, while explaining my choices and techniques as I go. Although the track isn't fully polished, I demonstrate how I develop ideas and lay the groundwork for further refinement and mastering.

You can watch the Video on Youtube

• support me on Patreon
• Bernie made a nice Rework with the Project on his youtube

Summary #

Maybe you don't watch the video, here are some important takeaways:

In the video, I welcome viewers back and mention that I've received a lot of interesting comments and feature requests for Bitwig Studio from my previous video. I plan to address some of these in a future video that will highlight the community's suggestions and align with my vision for Bitwig Studio's future. However, the focus of this video is to create music with Bitwig Studio, exploring its capabilities as a music application.

I start the process by showcasing my setup, emphasizing the importance of having more output gear for professionalism. I then explain my approach to making music from start to finish, acknowledging that I haven't made such videos in a while. Initially, I aim for a slow track, opting for a tempo of 85 BPM, which is half the drum and bass tempo of 170 BPM, allowing flexibility to switch genres later if needed.

To create a melodic piece that is visually engaging, I begin with a pedal sound or drone to establish the track's fundamental note. I use a synthesizer, Polymer, and experiment with wave tables and unison settings to create a rich harmonic texture. Adding reverb via the Supermassive plugin enhances the spaciousness of the sound.

Once the drone is established, I move on to creating an arpeggiator using the Stepwise module in Bitwig, experimenting with different note lengths and polyphonic settings to achieve a desired musical flow. I incorporate effects like convolution reverb and delay to augment the sound.

With the foundational elements set, I turn my attention to the bass line and introduce a basic bass sound using Polymer again, focusing on creating a fat bass that complements the rest of the track. I discuss the merits of a dynamically modulated bass versus a static one and demonstrate how to maintain a consistent bass level using auto-level and peak limiting.

I then add a lead sound using the saw wave, experimenting with filter modulation to give it a brass-like character, and apply heavy reverb to create a lush, expansive sound. Playing with intervals on a MIDI keyboard, I craft a melody that fits the ambient and melodic vibe I'm going for.

Next, I shift focus to drums, starting with a kick drum pattern and experimenting with probabilities to add variation. To manage the interaction between the kick drum and bass, I employ sidechain ducking, ensuring clarity in the mix. I also explore added elements like claps and hi-hats, further sculpting them with EQ and modulation for interest and movement.

In addition to digital instruments, I integrate analog gear into the session. Specifically, I use my Poly D synthesizer to record an arpeggiator sequence and a sustained root note, showcasing how analog sounds can add depth and texture to a digital project.

Throughout the video, I share insights into automation recording, using both the clip launcher and the arranger automation in Bitwig to dynamically alter parameters in real-time. This approach allows for spontaneous and creative decision-making, enriching the composition process.

As the track progresses, I sculpt dynamics and EQ various elements to ensure a balanced mix, while highlighting areas that could be improved with further detailed work. I acknowledge that refining the track would take several more hours and continue to layer it with additional textures and transitions, emphasizing the iterative nature of music production.

Overall, the video serves as an in-depth exploration of my creative process in Bitwig Studio, demonstrating how I use the software and my gear to create a complete musical piece from scratch. I conclude by offering the project file on Patreon for those interested in exploring the session further and encourage viewers to like, subscribe, and share their thoughts in the comments.

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.

[00:00:02] Hey, folks, welcome back.
[00:00:15] Under the last video, I got a lot of comments,
[00:00:17] a lot of nice ideas and feature requests for Bitwig Studio.
[00:00:21] And I probably do another video about this pretty soon
[00:00:25] and highlight some of the comments
[00:00:26] because some of the ideas are very nice.
[00:00:29] And they also align pretty well
[00:00:31] with what I see as the future of Bitwig Studio.
[00:00:34] So I do this pretty soon,
[00:00:37] but today I want to make something completely crazy,
[00:00:40] completely crazy.
[00:00:41] I want to make music with Bitwig Studio
[00:00:44] because it looks like it's a music application
[00:00:47] and you can do music with it.
[00:00:49] So here you can see my output gear
[00:00:53] and the more output gear you have,
[00:00:55] the more professional you are.
[00:00:58] That's how it goes.
[00:01:00] And I want to show you my process basically
[00:01:02] to make music from start to finish more or less.
[00:01:06] I haven't done some of these videos in a while.
[00:01:09] So usually when you start to make music,
[00:01:14] you have usually a rough idea of what you want to do.
[00:01:18] And here I'm going first for something slow.
[00:01:21] Usually you start with 100, 110,
[00:01:23] but I want to go to 85.
[00:01:25] And the reason for 85 is that's halftime of 170 ppm,
[00:01:30] which is drum bass,
[00:01:31] so you can switch to drum bass mid-process, if I feel so.
[00:01:36] But I usually start here with 85.
[00:01:40] I want to make something more melodic,
[00:01:42] also because it's more pleasant to view,
[00:01:46] to watch the video,
[00:01:48] to have something more melodic.
[00:01:49] When I do drum bass,
[00:01:50] I usually make a lot of sound design for drums
[00:01:54] and bass, and this is boring to watch.
[00:01:59] It's not interesting to watch.
[00:02:01] It's better to make their separate tutorials
[00:02:04] about bass design and drum design and so on.
[00:02:08] The whole process is pretty boring.
[00:02:09] So I make something melodic.
[00:02:11] When I make something melodic,
[00:02:13] I usually start with some kind of pedal sound,
[00:02:16] something in the background, a drone,
[00:02:18] just to highlight the root note fundamental of the track.
[00:02:24] So here I can go for maybe just a synthesizer,
[00:02:28] polymer, wave table.
[00:02:30] You can choose something crazy here,
[00:02:32] maybe something more complex here
[00:02:35] with a lot of harmonics.
[00:02:37] Let's use this one.
[00:02:41] We can remove here the fundamental,
[00:02:43] and then we replace the fundamental here with a sign.
[00:02:47] So it's a nice static sine wave.
[00:02:51] And then we probably want to use a 16 voices unison fat,
[00:02:56] and you want to spread the voices randomly.
[00:02:59] This gives us probably, let's on this here.
[00:03:02] Something to work with.
[00:03:09] So I use here then a reverb.
[00:03:13] I use super massive all the time because it's so nice.
[00:03:16] It sounds so, so spacious.
[00:03:20] And then I used here a ball exit stretch,
[00:03:23] and I want to record the synthesizer
[00:03:26] and this reverb into this buffer here, right?
[00:03:28] And I play some notes.
[00:03:30] I changed some settings while I'm recording.
[00:03:34] So yeah, nothing too complicated.
[00:03:38] And I play, of course, root of my track,
[00:03:42] and I play maybe the fifth and the fourth.
[00:03:45] That's it.
[00:03:49] Maybe an octave higher, maybe an octave lower.
[00:03:53] We will see.
[00:03:53] So that's it, record here.
[00:03:55] (gentle music)
[00:03:58] Okay, so that's enough.
[00:04:19] And we can then use here this ball stretch
[00:04:22] and maybe completely remove the polymer
[00:04:25] and use this buffer to play it back,
[00:04:29] maybe stretch it a bit more, maybe 10.
[00:04:33] And then we can also, and I type here in, yeah,
[00:04:37] minus 12, pitch this one octave lower.
[00:04:49] And we EQ here some things out.
[00:04:52] The bass, of course, because we want to replace here
[00:04:55] the bass with our own bass.
[00:04:57] Make a bit of room everywhere.
[00:04:59] Make it a bit more airy.
[00:05:02] So we have already a nice background drone.
[00:05:19] That gives us the feel of the tonal center more or less.
[00:05:23] And we can call this drone.
[00:05:28] A bit quieter.
[00:05:33] Okay, so then we can move on.
[00:05:38] We can define here maybe an arp.
[00:05:46] And we can use here the, what's the name, stepwise.
[00:05:50] Now, if you're already a preset for my scale,
[00:05:55] EB minor or D sharp minor,
[00:05:57] and we can put in here some notes,
[00:06:02] maybe one octave higher.
[00:06:06] Use different length here.
[00:06:15] (electronic music)
[00:06:18] You can hear we play here sometimes
[00:06:22] ports or two notes at the same time.
[00:06:26] So I'm switching a polymer to monophonic.
[00:06:31] So now it can only play one note at a time.
[00:06:34] (electronic music)
[00:06:36] Okay, let's stick with this for a moment here.
[00:06:55] And we use, let's say, also a different wave table.
[00:07:02] Unison also.
[00:07:03] Maybe also remove here the fundamental
[00:07:07] and then replace this here with a sign.
[00:07:11] (electronic music)
[00:07:14] Yeah, that's better.
[00:07:24] Then we use a bit of convolution reverb here
[00:07:27] with the default preset here
[00:07:28] of the sound Peter's Cathedral.
[00:07:31] And a bit of delay, delay two, maybe.
[00:07:35] (electronic music)
[00:07:38] We can also maybe use instead of delay two here,
[00:07:47] delay four.
[00:07:48] I haven't actually used this in a long time.
[00:07:52] So delay four is pretty interesting
[00:07:54] because you have here this feed matrix.
[00:07:57] You get the sound on channel one here.
[00:07:59] We have the volume.
[00:08:00] So we receive here the audio input on this channel
[00:08:03] and then we can create your feedback, right?
[00:08:06] So we get...
[00:08:07] (electronic music)
[00:08:10] So we can make this with longer, let's say, five, 16 notes.
[00:08:19] And the feedback here, we add, let's say, a blur.
[00:08:25] And maybe a filter.
[00:08:29] (electronic music)
[00:08:32] And then we can send the whole feedback chain here
[00:08:45] to channel two, to this feedback line
[00:08:51] with a different delay setting here.
[00:08:57] (electronic music)
[00:09:00] And here in the box, we maybe use something different.
[00:09:10] We use maybe chorus.
[00:09:12] (electronic music)
[00:09:15] And we send this a little bit to the left.
[00:09:27] And then we send this to channel three here.
[00:09:30] (electronic music)
[00:09:33] And here we use maybe a flanger.
[00:09:43] (electronic music)
[00:09:55] And then we send this to four.
[00:09:57] (electronic music)
[00:10:00] Maybe we get some dry signal here to channel two.
[00:10:05] (electronic music)
[00:10:08] And on channel four here,
[00:10:16] we maybe want to do something with the pitch shifter.
[00:10:20] (electronic music)
[00:10:22] Pitch it up to 12th or...
[00:10:24] (electronic music)
[00:10:25] To have semitones up.
[00:10:26] (electronic music)
[00:10:29] It sounds a bit more grainy.
[00:10:33] (electronic music)
[00:10:36] Then we send it back to three maybe, to two.
[00:10:43] To make a nice cross feed here.
[00:10:47] (electronic music)
[00:10:49] (electronic music)
[00:10:52] Then we can also change the global gain
[00:11:07] of all of these knobs together.
[00:11:09] (electronic music)
[00:11:12] (electronic music)
[00:11:17] (electronic music)
[00:11:20] Then we want to modify here the index.
[00:11:32] (electronic music)
[00:11:35] I get the shorter.
[00:11:40] (electronic music)
[00:11:43] (electronic music)
[00:11:46] The duplicators, and then we change here the
[00:11:53] modulation amount.
[00:11:54] (electronic music)
[00:11:55] Different step size or step length.
[00:11:58] (electronic music)
[00:12:01] Then maybe at the end here, delayed shoe.
[00:12:09] (electronic music)
[00:12:12] (electronic music)
[00:12:15] (electronic music)
[00:12:22] (electronic music)
[00:12:36] (electronic music)
[00:12:39] (electronic music)
[00:12:42] (electronic music)
[00:13:12] Bring this more in the background.
[00:13:14] (electronic music)
[00:13:17] Okay, so now we can define maybe a bass sound
[00:13:27] because so far we have nothing in the bass.
[00:13:31] Everything is in the midst here in the tops, right?
[00:13:34] So we miss here a nice fat bass.
[00:13:37] (electronic music)
[00:13:41] To go for a polymer, we need sustain,
[00:13:44] ease the attack, and maybe saw.
[00:13:50] (electronic music)
[00:13:51] And then we switch down here.
[00:13:53] (electronic music)
[00:13:56] And we want to have here monophonic also.
[00:14:04] (electronic music)
[00:14:09] So maybe use the sub oscillator too.
[00:14:13] (electronic music)
[00:14:16] Or maybe we detune at the left and the right channel.
[00:14:30] (electronic music)
[00:14:32] And then make it monophonic.
[00:14:34] (electronic music)
[00:14:37] (electronic music)
[00:14:40] (electronic music)
[00:15:05] So pretty boring bass line here.
[00:15:07] But this is very default everything, right?
[00:15:11] It's nothing special.
[00:15:12] (electronic music)
[00:15:14] Just use the diatonic scale
[00:15:16] and play the usual notes.
[00:15:20] (electronic music)
[00:15:23] So one bar, the root, the next bar, fourth down,
[00:15:28] or a third, a major third down.
[00:15:33] (electronic music)
[00:15:36] (electronic music)
[00:15:38] (electronic music)
[00:16:05] So now I can use here
[00:16:06] automation right for clip launcher.
[00:16:10] I made a video about this.
[00:16:12] So you can while you record,
[00:16:16] or maybe also use here attach.
[00:16:19] I think this is only for the ranger,
[00:16:22] not for the clip launcher.
[00:16:24] So I want to use automation right here
[00:16:26] for the clip launcher here.
[00:16:30] And just touch some controls, right?
[00:16:34] Or maybe bring this back up.
[00:16:36] (electronic music)
[00:16:39] You can see it's basically replaying what I did.
[00:16:59] But that's what I recorded here more or less.
[00:17:02] (electronic music)
[00:17:05] (electronic music)
[00:17:08] (electronic music)
[00:17:11] (electronic music)
[00:17:14] (electronic music)
[00:17:17] (electronic music)
[00:17:20] (electronic music)
[00:17:23] (electronic music)
[00:17:26] (electronic music)
[00:17:28] (electronic music)
[00:17:31] (electronic music)
[00:18:00] And the drone actually plays always all the time.
[00:18:05] So I guess I record an audio file.
[00:18:10] Mute this and go drone output post.
[00:18:15] And then I just record here the output.
[00:18:19] (electronic music)
[00:18:22] Right, and then I loop this audio file
[00:18:25] instead of playing here from the plug-in itself
[00:18:30] because there's no stop button.
[00:18:32] It actually doesn't stop when you hit transport stop, right?
[00:18:36] So I prefer sometimes to record this into an audio file
[00:18:40] and also later on when you open up the project, right?
[00:18:43] You have it then as an audio file.
[00:18:45] So you don't need to have this installed more or less.
[00:18:48] There are probably some settings here.
[00:18:52] Oh yeah, here play when host transport is running.
[00:18:58] So yeah, I probably have to enable this here.
[00:19:00] Stop, let's try this out.
[00:19:03] (electronic music)
[00:19:08] Oh yeah, it stops, nice.
[00:19:09] That's how it works.
[00:19:14] (laughs)
[00:19:15] (electronic music)
[00:19:17] So I can delete this here for now.
[00:19:19] (electronic music)
[00:19:22] Okay, so now we want to use a kick drum.
[00:19:28] And I go here for V zero kick.
[00:19:31] Just start simple, maybe break beat ish here.
[00:19:39] (electronic music)
[00:19:42] (electronic music)
[00:19:45] So maybe two bass drums here,
[00:20:05] but this one has a probability of 50% maybe.
[00:20:09] (electronic music)
[00:20:12] (electronic music)
[00:20:15] (electronic music)
[00:20:18] (electronic music)
[00:20:21] (electronic music)
[00:20:24] (electronic music)
[00:20:26] (electronic music)
[00:20:28] So then I want to duck at the bass with the tool.
[00:20:33] Probably I've already a side chain.
[00:20:38] Yeah.
[00:20:42] So add an outside chain and then use here a kick drum
[00:20:45] as a trigger and pull this down.
[00:20:49] (electronic music)
[00:20:52] This way we don't need to actually EQ the kick drum
[00:20:58] out of the bass because the kick drum has no overtones
[00:21:01] and the bass has not a lot of overtones.
[00:21:06] And you just want to duck down here at the volume.
[00:21:08] (electronic music)
[00:21:12] (electronic music)
[00:21:14] You can see the loudness of the bass is going up and down.
[00:21:19] And that's because of the two oscillators here detuned.
[00:21:23] I kind of like it, but a lot of people want to get rid
[00:21:26] of it because they want to have a consistent bass sound
[00:21:30] all the time, like a super, yeah, static bass.
[00:21:35] But in my opinion, sometimes on the dance floor,
[00:21:38] it sounds so nice when the bass goes up or down.
[00:21:42] You obviously want to have a lot of pressure
[00:21:44] when you hit with the kick drum in the bass, right?
[00:21:46] But sometimes in my opinion,
[00:21:50] it sounds super dope if you have this
[00:21:53] slowly modulated bass in there.
[00:21:55] But you can also get rid of it here with a peak limiter.
[00:22:00] What I do lately is use my auto level.
[00:22:07] Auto level preset, and this brings the volume up to 0 dB.
[00:22:12] And maybe put here a peak limiter
[00:22:16] so you can see what's happening.
[00:22:18] (electronic music)
[00:22:20] So this is the output here.
[00:22:21] And then I pull down the threshold.
[00:22:24] So now the volume is adjusted.
[00:22:28] And then I bring down the fall time here.
[00:22:32] (electronic music)
[00:22:36] (electronic music)
[00:22:37] Then it gets more static.
[00:22:39] (electronic music)
[00:22:42] That's too much, but something around here is cool.
[00:22:50] (electronic music)
[00:22:53] And then you can define here, then the volume maybe.
[00:22:57] And it's really on minus two or something.
[00:23:00] (electronic music)
[00:23:03] (electronic music)
[00:23:06] Okay, that's already, it sounds like
[00:23:21] something for a lead sound here.
[00:23:25] So I'm going for song.
[00:23:26] It's always nice for lead sounds.
[00:23:29] (electronic music)
[00:23:30] That's too low.
[00:23:32] (electronic music)
[00:23:34] Something around here, one K.
[00:23:36] (electronic music)
[00:23:39] Lead sound goes to one K.
[00:23:43] (electronic music)
[00:23:45] And we want to make this a bit more interesting.
[00:23:52] (electronic music)
[00:23:54] So we use here audio rate.
[00:23:56] And we grab the output of this.
[00:24:02] Post.
[00:24:03] And we modulate here, maybe the filter with it.
[00:24:06] (electronic music)
[00:24:11] (electronic music)
[00:24:14] So it sounds more like a trumpet at some point, right?
[00:24:22] So it's a...
[00:24:23] (electronic music)
[00:24:26] It's a grassy sound and I kind of like it.
[00:24:31] And then we put here ridiculous amount of reverb on it.
[00:24:36] (electronic music)
[00:24:42] Maybe use here, Nelson.
[00:24:52] (electronic music)
[00:24:57] (electronic music)
[00:25:00] Maybe too much.
[00:25:08] (electronic music)
[00:25:12] (electronic music)
[00:25:20] (electronic music)
[00:25:23] (electronic music)
[00:25:26] (electronic music)
[00:25:29] (electronic music)
[00:25:32] (electronic music)
[00:26:01] And then I play some notes,
[00:26:03] but I stretch these notes pretty far out.
[00:26:07] It's not just one bar.
[00:26:08] And then I play a melody.
[00:26:10] I play when I feel like there needs to be a note, right?
[00:26:14] So I haven't actually written a melody in Bitwig
[00:26:19] with the mouse for a long, long time.
[00:26:22] I'm just recording MIDI keyboard here.
[00:26:25] It's so much better.
[00:26:29] Try it out if you haven't to,
[00:26:31] but get comfortable with the keys.
[00:26:33] Find your nice intervals you like
[00:26:37] and then play these intervals.
[00:26:39] (electronic music)
[00:26:43] Whenever it feels right inside of the song.
[00:26:45] (electronic music)
[00:26:49] (electronic music)
[00:26:52] (electronic music)
[00:26:55] (electronic music)
[00:26:58] (electronic music)
[00:27:01] (electronic music)
[00:27:04] (electronic music)
[00:27:07] (electronic music)
[00:27:10] (electronic music)
[00:27:13] (electronic music)
[00:27:16] Something like this, right?
[00:27:17] As you can see, the melody I'm playing,
[00:27:20] just the basic pentatonic,
[00:27:25] this one is not pentatonic,
[00:27:26] but basic keys very stretched out
[00:27:30] and just flowing or going with the vibe of the song
[00:27:34] instead of making a small little bar clip
[00:27:40] and then painting in all the time
[00:27:41] and trying to find something interesting.
[00:27:44] (electronic music)
[00:27:47] (electronic music)
[00:27:49] (electronic music)
[00:27:53] (electronic music)
[00:27:56] (electronic music)
[00:27:58] (electronic music)
[00:28:00] Let's get rid of some low frequencies.
[00:28:03] (electronic music)
[00:28:06] (electronic music)
[00:28:08] And maybe loop this.
[00:28:09] (electronic music)
[00:28:13] I'm switching here to a different filter
[00:28:15] because the higher the number here is, right?
[00:28:18] The more overtones you reduce in volume.
[00:28:21] If you want to leak certain overtones,
[00:28:24] leak through a bit more or be a bit louder
[00:28:26] then you can switch down here to LP1, LP2.
[00:28:30] (electronic music)
[00:28:31] Right, it's too much.
[00:28:32] (electronic music)
[00:28:34] That's too muffled.
[00:28:36] (electronic music)
[00:28:39] (electronic music)
[00:28:42] Right, so this is how I decide, basically,
[00:28:44] with the filter type how much I want to leak through
[00:28:49] of what overtones.
[00:28:51] (electronic music)
[00:28:54] (electronic music)
[00:28:57] (electronic music)
[00:29:01] (electronic music)
[00:29:04] (electronic music)
[00:29:07] (electronic music)
[00:29:09] (electronic music)
[00:29:38] Right here, the next section,
[00:29:41] it sounds like there needs to be more drums.
[00:29:46] (electronic music)
[00:29:48] So I'm starting to use here, let's see.
[00:29:52] And maybe try out here the hats, the new hat device.
[00:29:58] Let's solo this for a moment.
[00:30:03] Ooh.
[00:30:06] (electronic music)
[00:30:09] (electronic music)
[00:30:11] I keep it simple.
[00:30:12] (electronic music)
[00:30:15] I probably won't have any cue here.
[00:30:26] (electronic music)
[00:30:29] Something like this.
[00:30:30] And maybe I use a step mod here, pretty short.
[00:30:35] Three steps, so odd number, then a.
[00:30:39] (electronic music)
[00:30:42] (electronic music)
[00:30:45] (electronic music)
[00:30:48] Just some steps in between.
[00:30:51] (electronic music)
[00:30:54] (electronic music)
[00:30:57] (electronic music)
[00:30:59] (electronic music)
[00:31:02] (electronic music)
[00:31:05] (electronic music)
[00:31:08] (electronic music)
[00:31:10] Something like this.
[00:31:11] Then maybe you would want to have a cue there in here.
[00:31:14] (electronic music)
[00:31:17] Band pass.
[00:31:18] (electronic music)
[00:31:20] Then also your step mod, different settings.
[00:31:24] (electronic music)
[00:31:28] 16 note, maybe five steps.
[00:31:31] (electronic music)
[00:31:34] (electronic music)
[00:31:37] (electronic music)
[00:31:40] (electronic music)
[00:31:43] (electronic music)
[00:31:46] And maybe a delay.
[00:31:48] (electronic music)
[00:31:51] (electronic music)
[00:31:54] (electronic music)
[00:31:57] (electronic music)
[00:32:00] (electronic music)
[00:32:03] (electronic music)
[00:32:06] (electronic music)
[00:32:09] (electronic music)
[00:32:12] (electronic music)
[00:32:15] (electronic music)
[00:32:18] (electronic music)
[00:32:20] I probably want to, don't choose here the key tracking.
[00:32:24] Yeah, but this we have maybe a nice head groove already.
[00:32:29] (upbeat music)
[00:32:31] (upbeat music)
[00:32:34] (upbeat music)
[00:33:03] - Let's try and use the pitch shifter.
[00:33:06] Bring us down to the semitones.
[00:33:08] (upbeat music)
[00:33:11] Is it the sound?
[00:33:26] (clock ticking)
[00:33:28] Almost like a granular delay.
[00:33:38] (upbeat music)
[00:33:41] (clock ticking)
[00:33:43] (upbeat music)
[00:33:46] (upbeat music)
[00:33:49] So let's go for a clap.
[00:34:16] Let me see how this one sounds here.
[00:34:17] (clock ticking)
[00:34:23] Maybe you can layer this with the eight clap.
[00:34:27] (clock ticking)
[00:34:31] (clock ticking)
[00:34:34] And the V1 clap maybe.
[00:34:54] (clock ticking)
[00:34:57] (clock ticking)
[00:34:59] Okay, and we want to put the reverb on that.
[00:35:06] Maybe convolution again.
[00:35:08] (clock ticking)
[00:35:10] Maybe too much low end.
[00:35:13] (clock ticking)
[00:35:27] And just a peak limit at the end.
[00:35:28] (upbeat music)
[00:35:33] Then, instead of having a clap on one, two and one, four,
[00:35:38] we go for one, three.
[00:35:39] (upbeat music)
[00:35:43] (upbeat music)
[00:36:12] This now has all the clap as a reverb all the time.
[00:36:16] So we go for a chain here.
[00:36:20] All the way up, full device, all the way down, 30%.
[00:36:27] Maybe also here, a plus with space all the way up.
[00:36:34] Maybe shorter.
[00:36:41] (clock ticking)
[00:36:44] Let's try.
[00:36:45] (clock ticking)
[00:36:49] This kind of sound.
[00:36:50] (clock ticking)
[00:36:57] (clock ticking)
[00:37:00] (clock ticking)
[00:37:09] (clock ticking)
[00:37:11] Yeah, maybe it's an EQ.
[00:37:15] It's a Q to WED signal.
[00:37:19] (clock ticking)
[00:37:24] So I do this not all the time, but I record here.
[00:37:33] Yeah, automation more or less here for the track.
[00:37:39] (upbeat music)
[00:37:41] Wait a minute, what's happened to you?
[00:38:06] (clock ticking)
[00:38:08] Okay.
[00:38:09] (upbeat music)
[00:38:11] And then we can do the same thing.
[00:38:14] Let's rename this here to reverb.
[00:38:17] Maybe do a different trick here.
[00:38:22] Full device, 20% maybe.
[00:38:27] And then here, we use only delay two, a delay plus.
[00:38:36] Only short.
[00:38:37] (clock ticking)
[00:38:40] (clock ticking)
[00:38:44] (clock ticking)
[00:39:04] (clock ticking)
[00:39:07] There are redo reverb here then, full device.
[00:39:12] (clock ticking)
[00:39:17] Oh, that's the ducking, sorry.
[00:39:21] I have to use this one.
[00:39:22] (clock ticking)
[00:39:27] (clock ticking)
[00:39:30] That's two, and maybe here at the end,
[00:39:40] so we copy this here.
[00:39:42] (upbeat music)
[00:39:49] (clock ticking)
[00:39:53] (clock ticking)
[00:39:56] (clock ticking)
[00:39:58] (upbeat music)
[00:40:01] (clock ticking)
[00:40:03] (upbeat music)
[00:40:06] (clock ticking)
[00:40:09] (upbeat music)
[00:40:11] (clock ticking)
[00:40:14] (upbeat music)
[00:40:17] (clock ticking)
[00:40:19] (upbeat music)
[00:40:22] (clock ticking)
[00:40:24] (upbeat music)
[00:40:27] (clock ticking)
[00:40:29] And I think here the bass needs some frequencies removed.
[00:40:34] Let's put this here after the auto level.
[00:40:39] 'Cause when I EQ certain frequencies out here,
[00:40:43] the auto level then pushes up the volume.
[00:40:46] (upbeat music)
[00:40:48] It's usually the mid range I want to have reduced here.
[00:40:53] It builds up so fast here, the mid range of the bass
[00:40:56] and the mid sounds of the lead sound and the arpeggiator
[00:41:00] and then also the drone, and then you have a lot of stuff
[00:41:03] in the mid range all the time.
[00:41:05] (upbeat music)
[00:41:07] (upbeat music)
[00:41:13] (upbeat music)
[00:41:16] (upbeat music)
[00:41:19] (clock ticking)
[00:41:45] (upbeat music)
[00:41:47] (upbeat music)
[00:41:56] Let's put this here into a group.
[00:42:02] All those drums.
[00:42:05] Maybe put compressor on it.
[00:42:10] (upbeat music)
[00:42:14] (upbeat music)
[00:42:17] And then I also want to record automation here
[00:42:41] for the lead sound because it's a bit boring.
[00:42:44] It doesn't change all the time.
[00:42:46] (upbeat music)
[00:42:49] Oh, that's better.
[00:43:13] And then we maybe go to the next part here.
[00:43:17] And here we want to remove the lead sound
[00:43:19] and want to replace it actually with the,
[00:43:22] let's say a better arpeggiator or something like this.
[00:43:28] So I could use here my external synthesizer.
[00:43:31] So I go for audio track and use here my poly D.
[00:43:36] I probably have to tune it.
[00:43:39] Let me see.
[00:43:43] (upbeat music)
[00:43:46] I have to switch it on, of course.
[00:43:48] Hey, need to switch it on.
[00:43:50] (upbeat music)
[00:43:53] So this should be D sharp three.
[00:44:00] So it's not D sharp three.
[00:44:02] (upbeat music)
[00:44:07] (upbeat music)
[00:44:10] So that's better.
[00:44:13] (upbeat music)
[00:44:16] So then I can use the internal arpeggiator here
[00:44:20] and record, let's say, it's record here
[00:44:25] and then record multiple steps.
[00:44:27] Also only the boot.
[00:44:30] (upbeat music)
[00:44:35] (upbeat music)
[00:44:37] I don't know how it sounds.
[00:44:41] Let's try this.
[00:44:43] (upbeat music)
[00:44:49] (upbeat music)
[00:44:51] (upbeat music)
[00:44:54] (upbeat music)
[00:44:56] (upbeat music)
[00:44:59] (upbeat music)
[00:45:02] (upbeat music)
[00:45:16] (upbeat music)
[00:45:18] (upbeat music)
[00:45:21] (upbeat music)
[00:45:23] (upbeat music)
[00:45:26] (upbeat music)
[00:45:28] (upbeat music)
[00:45:31] (upbeat music)
[00:45:34] (upbeat music)
[00:45:36] (upbeat music)
[00:45:39] (upbeat music)
[00:46:07] It's too boring, it's okay.
[00:46:10] You can use it, but the shift pattern reset, okay.
[00:46:15] Record.
[00:46:18] (upbeat music)
[00:46:22] (upbeat music)
[00:46:36] (upbeat music)
[00:46:38] (upbeat music)
[00:46:41] (upbeat music)
[00:46:43] (upbeat music)
[00:46:46] (upbeat music)
[00:46:49] (upbeat music)
[00:46:51] (upbeat music)
[00:46:54] (upbeat music)
[00:46:56] (upbeat music)
[00:46:59] (upbeat music)
[00:47:01] (upbeat music)
[00:47:04] (upbeat music)
[00:47:07] (upbeat music)
[00:47:09] (upbeat music)
[00:47:12] (upbeat music)
[00:47:14] (upbeat music)
[00:47:17] (upbeat music)
[00:47:20] (upbeat music)
[00:47:22] (upbeat music)
[00:47:25] (upbeat music)
[00:47:27] (upbeat music)
[00:47:30] (upbeat music)
[00:47:32] (upbeat music)
[00:47:35] (upbeat music)
[00:47:38] (upbeat music)
[00:47:40] (upbeat music)
[00:47:43] (upbeat music)
[00:47:45] (upbeat music)
[00:47:48] (upbeat music)
[00:47:50] (upbeat music)
[00:48:18] Let's record this again.
[00:48:20] Pattern, shift pattern reset.
[00:48:25] (upbeat music)
[00:48:31] (upbeat music)
[00:48:46] (upbeat music)
[00:48:48] (upbeat music)
[00:48:51] (upbeat music)
[00:48:53] (upbeat music)
[00:48:56] (upbeat music)
[00:49:25] Okay, let's record this.
[00:49:26] And I'll start here with the closed filter, more or less.
[00:49:33] (upbeat music)
[00:49:35] (upbeat music)
[00:49:38] (upbeat music)
[00:49:41] (upbeat music)
[00:49:43] (upbeat music)
[00:49:46] (upbeat music)
[00:49:48] (upbeat music)
[00:49:51] (upbeat music)
[00:49:54] (upbeat music)
[00:49:56] (upbeat music)
[00:49:59] (upbeat music)
[00:50:01] (upbeat music)
[00:50:04] (upbeat music)
[00:50:06] (upbeat music)
[00:50:09] (upbeat music)
[00:50:12] (upbeat music)
[00:50:14] And it's probably off here with the recording.
[00:50:42] So I drag this here to the first line.
[00:50:46] Um, yeah.
[00:50:50] (upbeat music)
[00:50:54] (upbeat music)
[00:50:56] (upbeat music)
[00:51:00] (upbeat music)
[00:51:03] (upbeat music)
[00:51:05] (upbeat music)
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[00:51:13] (upbeat music)
[00:51:16] (upbeat music)
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[00:51:23] (upbeat music)
[00:51:26] (upbeat music)
[00:51:28] (upbeat music)
[00:51:31] (upbeat music)
[00:51:34] (upbeat music)
[00:51:36] (upbeat music)
[00:51:39] (upbeat music)
[00:51:41] (upbeat music)
[00:51:44] (upbeat music)
[00:51:46] (upbeat music)
[00:51:49] (upbeat music)
[00:51:52] (upbeat music)
[00:51:54] (upbeat music)
[00:51:57] (upbeat music)
[00:52:25] Okay, so we go from this arpeggiator then from poly D
[00:52:30] into this new lead melody, which uses the same sound as here.
[00:52:35] So I guess that's already something.
[00:52:41] (upbeat music)
[00:52:43] (upbeat music)
[00:52:46] (upbeat music)
[00:52:48] (upbeat music)
[00:52:51] So here I'm using again a poly D.
[00:53:19] And I call it different sounds.
[00:53:21] Wait a minute.
[00:53:24] This one.
[00:53:27] So I don't want to have here an arp.
[00:53:32] I want to have a longer sound.
[00:53:34] So I change the sound.
[00:53:36] I'm maybe sustain here.
[00:53:40] (upbeat music)
[00:53:45] (upbeat music)
[00:53:48] So I want to fade this in then maybe with the reverb.
[00:54:09] The T of the sounds, I have no idea.
[00:54:14] (upbeat music)
[00:54:16] Need a slow attack.
[00:54:18] And just, let's just record.
[00:54:23] (upbeat music)
[00:54:25] It's just a root note.
[00:54:34] (upbeat music)
[00:54:37] (upbeat music)
[00:54:40] Well, maybe we can record this an octave lower.
[00:55:00] It's probably better here.
[00:55:02] (upbeat music)
[00:55:05] (upbeat music)
[00:55:07] (upbeat music)
[00:55:10] (upbeat music)
[00:55:39] We can then use this here, but hold down the volume a bit.
[00:55:43] 4 dB, 5 dB.
[00:55:45] That's why I like to use these analog synthesizers.
[00:55:55] You just dial in a quick sound.
[00:55:57] You play around, record, maybe fade in, fade out,
[00:56:00] just a small sequence.
[00:56:02] And then you have it as audio here and you can't change it.
[00:56:05] So usually the problem for me is that I want to change
[00:56:08] the sounds all the time.
[00:56:10] And with this, I'm kind of locked in.
[00:56:13] I need to deal with this.
[00:56:15] (upbeat music)
[00:56:17] Also here, the arp.
[00:56:25] And hold down here, the modulation amount to zero.
[00:56:37] Also, the filter.
[00:56:38] (upbeat music)
[00:56:43] Yeah, let's make this a bit longer here.
[00:57:00] (upbeat music)
[00:57:05] (upbeat music)
[00:57:08] Again here, there's a lot of empty space
[00:57:18] where nothing happens.
[00:57:20] So I can, again, just use the poly D
[00:57:22] and play some random sounds with it.
[00:57:24] What I like to do.
[00:57:28] Maybe put delay on it.
[00:57:32] Delay two, super massive.
[00:57:35] (upbeat music)
[00:57:38] Just give it a go, maybe a low cut here.
[00:57:43] (upbeat music)
[00:57:50] (upbeat music)
[00:57:53] So, just so something happens, right?
[00:58:13] (upbeat music)
[00:58:16] (clock ticking)
[00:58:18] (upbeat music)
[00:58:22] (upbeat music)
[00:58:24] (upbeat music)
[00:58:27] (upbeat music)
[00:58:30] (upbeat music)
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[00:58:35] (upbeat music)
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[00:59:01] (upbeat music)
[00:59:03] (upbeat music)
[00:59:06] (upbeat music)
[00:59:08] (upbeat music)
[00:59:11] I'm not happy with the hats, yeah.
[00:59:39] I have too, too much low end.
[00:59:42] (upbeat music)
[00:59:44] (upbeat music)
[00:59:47] (upbeat music)
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[01:00:08] (upbeat music)
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[01:01:28] (upbeat music)
[01:01:30] (upbeat music)
[01:01:58] So, we want to add, maybe make the kick drum a bit shorter here.
[01:02:02] It's way too long.
[01:02:03] Yeah, that's better.
[01:02:07] So, I take here the name XO.
[01:02:14] I use XO and create a small little percussion pattern
[01:02:19] or something like this on top
[01:02:21] to make the sounds, make the drums sound faster.
[01:02:26] (upbeat music)
[01:02:29] (upbeat music)
[01:02:32] (upbeat music)
[01:02:34] (upbeat music)
[01:02:35] So, I take here some random,
[01:02:39] bleeps and plops.
[01:02:40] (upbeat music)
[01:02:44] (upbeat music)
[01:02:47] (upbeat music)
[01:02:50] (upbeat music)
[01:02:53] (upbeat music)
[01:02:56] (upbeat music)
[01:02:58] (upbeat music)
[01:03:01] (upbeat music)
[01:03:03] (upbeat music)
[01:03:06] (upbeat music)
[01:03:09] (upbeat music)
[01:03:10] Oh, that's a bit too long, huh?
[01:03:12] (upbeat music)
[01:03:15] (upbeat music)
[01:03:17] (upbeat music)
[01:03:20] (upbeat music)
[01:03:21] Oh, that's a bit like this.
[01:03:23] (upbeat music)
[01:03:26] Yeah, and then I adjust here.
[01:03:28] (upbeat music)
[01:03:31] Create an interesting pattern, I guess.
[01:03:33] (upbeat music)
[01:03:36] (upbeat music)
[01:03:38] (upbeat music)
[01:03:41] (upbeat music)
[01:03:43] (upbeat music)
[01:03:46] So, this is the A pattern.
[01:03:47] B pattern is kind of the same,
[01:03:49] but here I use different sounds for this and this.
[01:03:53] (upbeat music)
[01:03:54] Then I switch A, B, A, and then B.
[01:03:57] (upbeat music)
[01:04:00] (upbeat music)
[01:04:02] (upbeat music)
[01:04:05] (upbeat music)
[01:04:08] And then of course, make convolution a bit.
[01:04:10] (upbeat music)
[01:04:12] And delay.
[01:04:13] (upbeat music)
[01:04:16] (upbeat music)
[01:04:17] And EQ, but I can use the EQ from here.
[01:04:20] (upbeat music)
[01:04:23] And maybe give the samples here a small little stereo patch
[01:04:28] for no reason.
[01:04:29] (upbeat music)
[01:04:32] (upbeat music)
[01:04:34] (upbeat music)
[01:04:37] (upbeat music)
[01:04:39] (upbeat music)
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[01:05:00] (upbeat music)
[01:05:02] (upbeat music)
[01:05:05] (upbeat music)
[01:05:07] Oh yeah.
[01:05:08] I modulate here the mix knob.
[01:05:11] I mean, why not?
[01:05:12] (upbeat music)
[01:05:16] (upbeat music)
[01:05:18] (upbeat music)
[01:05:21] (upbeat music)
[01:05:23] (upbeat music)
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[01:05:36] (upbeat music)
[01:05:39] (upbeat music)
[01:05:42] (upbeat music)
[01:06:10] let's clip it. And we can then X-Size it. And we can then X-Size it. And we can then
[01:06:40] export here this as a media file or media clip or note clip. And get rid here of the
[01:06:50] sync. And we may be can also bounce this bounce no data. Then we can disable this
[01:07:06] here maybe call it perks. And then for no reason at the end here we just reverse it.
[01:07:16] Hello. No fade in. Got it. Yeah nice.
[01:07:36] So here we can even create more speed by. Yeah, I don't know. Maybe put
[01:08:06] an LFO on this one. You get rid here of the modulation of the cutoff note and we
[01:08:32] go here to 20. It's only the sub-bass. And this is the mount note. Use, yeah 100% on
[01:08:58] this on this clip here.
[01:09:28] Okay, let's see how this up just sounds on this one. No, we need to make another one.
[01:09:55] Let's see how this sounds.
[01:10:25] Okay. So here we can see how this sounds. And we can also get rid of the sync. And we can
[01:10:55] get rid of the sync. And then we bring up here, this is 0.
[01:11:20] So here we can get rid of the sync. And we can also get rid of the sync. And we can
[01:11:40] also get rid of the sync. And we can also get rid of the sync. And we can also get rid of
[01:12:10] the sync. So here we can get rid of the sync. And we can also get rid of the sync.
[01:12:37] Yeah, we bring here slowly the delay time up, which pitches it a bit down. It sounds a bit
[01:12:57] dissonant, but I kind of like it.
[01:13:25] Okay, let's make your quick, quick balancing stuff. So we put your compressor in there.
[01:13:53] All this actually is, just this one.
[01:14:19] Okay. So here we can get rid of the sync. And we can also get rid of the sync. And we can
[01:14:49] also get rid of the sync. So I want to kick drum a bit more in the front. Yeah, I can
[01:15:01] maybe try to use DSE Q3. And now to get rid of these harsh frequencies here from the
[01:15:18] percussions. I probably bounced this done anyway, so this goes away. I just dial it
[01:15:30] in and when I find it sounds pretty dope, then I just bounce this and then I can get
[01:15:38] rid of the DSE Q. That's how I usually do it. Or maybe I can put it here on the XO first
[01:15:45] and then bounce it to audio.
[01:16:12] Okay. So we're going to get rid of the sync. And then we're going to get rid of the sync.
[01:16:42] And then we're going to get rid of the sync.
[01:17:11] Not the best track, but it is something. Maybe here I go to a different note.
[01:17:38] And then I put it down.
[01:17:53] And then we're going to get rid of the sync.
[01:18:23] And then we're going to get rid of the sync.
[01:18:51] Okay, let's go here to this problem. Maybe I use some over here.
[01:19:19] And then we're going to get rid of the sync.
[01:19:48] And then we're going to get rid of the sync.
[01:20:18] Yeah, maybe let's save it. 20-25-01. I don't know which date it's today.
[01:20:38] Okay. Ambient. It's not ambient, but I call it ambient all the time.
[01:20:50] Okay. So it's not the best song for the video, but you can see the whole process, how I do
[01:20:59] it, what I do, and I try to explain along the way what I did. This is here some kind
[01:21:05] of quick mastering, making sure that all the frequencies are there. And then I'm reducing
[01:21:10] the dynamics for the bands here. It's kind of nice to do sometimes, just have a rough
[01:21:19] idea how it sounds in the end. I probably now would go into the details, right, working
[01:21:27] on the bass, making some edits here and there. The snares and the claps are not completely
[01:21:34] right, equeuing the stuff, but it takes hours, right? These are now the details, bringing
[01:21:39] in all the knowledge and making it shine. And this takes time, probably multiple hours.
[01:21:51] So it's not that cool to record, I would say. But yeah, that's how I start the track, usually
[01:22:00] how I get these ideas, how I make use of my output gear, how do I use a Bitwig and some
[01:22:08] of the processes I showed in my last videos here, also with the recording or using the
[01:22:14] flip launcher automation and the arranger automation. It's super dope actually to do this on the
[01:22:20] fly, dial in some small details or edits here and there. Also recording output gear is super
[01:22:27] dope. Just put it in there, tweak the knobs, record it, and then you have a new nice sound
[01:22:35] and sample you can put into your arrangement. Super dope. I probably would do some multiple
[01:22:41] passes now, also with the Poly D, play some sounds here and there, some effect sounds and
[01:22:45] just record some individual samples for transitioning sounds and so on. So a lot of work you can
[01:22:53] do just with this bass here. I put this track or this project on my Patreon if you want
[01:22:59] to download this. But besides that, that's it. Thanks for watching. Leave a like, leave
[01:23:09] a subscription, tell me what you think in the comments down below and see you next video.
[01:23:13] Bye.