Drum and Bass in Bitwig Tutorial

[00:00:18] So last week I made a video and someone asked me in the comments
[00:00:21] polarity please make a complete start to finish
[00:00:25] drum and bass tutorial for Bitwig studio and today I thought maybe it's
[00:00:29] Monday I have nothing else to do so maybe let's try it okay
[00:00:34] so we do this in this video maybe I cut
[00:00:37] the end result in front of this I'm not sure
[00:00:41] I also haven't prepared anything I also don't want to use
[00:00:45] samples so sample packs I know a lot of tutorials on
[00:00:49] YouTube are actually you know going to splice and just downloading this random
[00:00:54] kick drum and then equeuing the shit out of it so I try to make everything
[00:00:59] inside of the door more or less I use VSTs
[00:01:02] probably because it's just easier um so yeah I think that's it so let's head
[00:01:08] over to Bitwig and let's start something going um
[00:01:13] so here Bitwig is completely in a default state
[00:01:17] nothing special I have nothing prepared 110 bpm which is not what we need we
[00:01:23] need probably something around 173 again go for
[00:01:27] 170 or 71 3 4 5 it doesn't really matter it depends on what you like
[00:01:33] so I go for 173 because it's just right up in the middle
[00:01:37] a lot of loops are in this kind of bpm bpm range
[00:01:43] and I don't need the clip launcher here so I switch it off
[00:01:48] and I want to start pretty unusual with the bass sound
[00:01:52] not with the drums usually people start with the drums to have some kind of
[00:01:56] rhythm I want to start this time here with um
[00:02:01] yeah with the bass so for the bass we can use kind of
[00:02:05] multiple multitudes of synthesizers I usually go for phase four
[00:02:12] the recent years I kind of like it to have phase four because it's actually
[00:02:16] FM synthesizer you can create all these nice overtones
[00:02:20] I go here into the note clip and we need to pick some kind of scale
[00:02:27] and I go most of the times for the sharp as always
[00:02:32] the reason for this is it's easy for me to remember because it's all the
[00:02:37] black notes more or less the sharp here is the lowest
[00:02:41] note it's the sharp zero and this frequency here is pretty low
[00:02:47] but it's not too low but it's also not too high in a way
[00:02:52] so what I want is basically I want to have a sub bass
[00:02:56] and I want to have the sub bass in a place where I can
[00:03:00] barely hear it on normal speakers and on a subwoofer it gives you the right
[00:03:05] the right amount of you know bass sub bass but there's also enough
[00:03:12] enough space on top where I can put the kick drum let's say on this
[00:03:17] position here right so it's a bit on top you have the kick drum here
[00:03:20] knocking here and then you have the sub bass below but you can also put it
[00:03:24] here on E or F or F sharp it's completely fine I just
[00:03:29] like to use D sharp for some reason but it's not like set in stone or anything
[00:03:34] like this you can use something else
[00:03:37] the drawback of this is in my opinion that you
[00:03:41] have to keep in mind later on when you mix down your track
[00:03:44] that yeah you make it audible on speakers that don't have
[00:03:51] sub frequencies or like on headphones or on
[00:03:56] yeah iPhone speaker or you know what I mean on laptop speakers
[00:04:01] so on laptop speakers you can't hear this frequency
[00:04:04] it's just not there you can't feel it you can't hear it
[00:04:08] so you have to make sure later on it translates
[00:04:11] very well on these type of speakers by just raising
[00:04:15] the first harmonic right or the the the second harmonic third harmonic and so on
[00:04:20] and play around with this to make it audible on these kind of
[00:04:24] devices if you go or if you decide to go with the
[00:04:29] sub bass here a bit higher let's say g sometimes the dial drum bass tunes with
[00:04:36] a you can also use a it's a bit easier you can
[00:04:41] hear these this this frequency better and sometimes when you use higher
[00:04:46] frequencies for the bass and you make like a very
[00:04:52] this kind of rhythmic bass line here right pretty fast bass line playing one
[00:04:56] after the other the track sounds for me a bit faster
[00:05:03] even though it's the same bpm but it sounds like it's
[00:05:06] driving more so if you have a drum bass tune and you feel like oh this actually
[00:05:12] doesn't you know go forward it doesn't drive it doesn't
[00:05:15] have this fast kind of feeling to it sometimes it's enough if you just raise
[00:05:21] the bass note higher and then you can hear it
[00:05:25] more clear in the speakers and it sounds like it's more upfront it's more
[00:05:29] like driving in a way so maybe give this here a play
[00:05:35] so this is very low so you see a second oscillator and just
[00:05:42] fm basically the first also so at the moment you can only hear this one here
[00:05:46] because this is a loudness of full all the others are off
[00:05:50] and then we just fming here more or less the first oscillator or operator
[00:05:56] something like this right and then you use here the envelope
[00:06:00] to actually modulate this in so it's more like a plucky sound
[00:06:05] so instead of having this
[00:06:12] so to me this sounds faster
[00:06:19] just by changing the frequency or the lowest note of the
[00:06:23] tune but here you have to of course you have to use different kick drums
[00:06:27] because it's in a different frequency range and so on
[00:06:30] so i like to like to have it here and then play around with the overtones to
[00:06:34] make it appear faster than it actually is
[00:06:39] so here with the phase four we want to go down with the voices to mono
[00:06:42] monophonic because we just want to have one sound at a time so
[00:06:46] each of these notes are actually choking each other
[00:06:50] so you can choose here longer release time
[00:06:54] so the last note is basically ringing out for a bit longer
[00:06:59] or maybe remove this here
[00:07:03] right you can hear it rings out at the end but as soon as you play the first
[00:07:10] note it chokes basically the last note ringing out
[00:07:13] so that's why i choose here mono let's go down
[00:07:18] so we can just leave it at that sometimes i like to
[00:07:22] mix in a bit of noise here because it's it's just more or less
[00:07:28] let's open up your pro cue
[00:07:32] right you can see here this is the fundamental this is here the first
[00:07:35] harmonic is the first harmonic first harmonic second harmonic and so on
[00:07:39] so this is here what you what gets in the way of the kick drum
[00:07:43] sometimes so you have to probably duck this down when the kick drum comes in
[00:07:49] you probably don't even need to duck here the sub frequency because we can
[00:07:54] play the kick drum here in this frequency range
[00:07:57] which is also benefits sometimes you can get away without ducking actually the
[00:08:01] bass
[00:08:07] so i said sometimes i like to use to mix in here some noise and there is no
[00:08:12] noise on phase four there's no noise oscillator here
[00:08:17] but you can kind of create chaos by using here the y oscillator or operator
[00:08:25] go with the mod all the way up 800 and then also
[00:08:29] make yourself self oscillation so we mix in y the operator y to itself here
[00:08:35] with this and the mod goes up to 800 so this is this gives you noise
[00:08:42] not really but kind of but then we can also use here this in stereo mode and
[00:08:54] just slightly detune it so you get stereo noise
[00:09:00] but we don't use here the noise all the way at 100 percent we want to use it to
[00:09:05] mix it in to the first oscillator maybe
[00:09:09] or we can use it to mix it into b and b then mixes into r
[00:09:15] maybe go up with the sustain here a bit more
[00:09:21] so that's something we can do and it gives you more like
[00:09:26] more overtones you can see this also here it's more or less here right
[00:09:31] um so it feels like you're already having some kind of
[00:09:35] distortion on the bass sound which isn't the case
[00:09:39] it's just noise and then we can use here the drive knob which is an overdrive or
[00:09:44] filter drive
[00:09:51] maybe i put here on the master i put some peak limiter
[00:09:56] just in case it's already hitting hitting the ceiling there
[00:10:01] um so yeah so then we pull up here the drive or the filter drive which kind of
[00:10:07] overdrive so saturates the output
[00:10:12] and then at the end of the phase four there's also some kind of voice gain
[00:10:17] and there's a clipper at the end you can see this here there is a
[00:10:21] some kind of speaker symbol and it gets red
[00:10:26] so we can also get some more interesting sounds out of it by playing around
[00:10:40] you with the ratio
[00:10:50] or maybe even to tune this here
[00:10:56] so you get pretty much pretty easy all the dubstep
[00:11:12] kind of similar sounds out of this just with a few tweaks
[00:11:17] in bitwig here and we don't even touch here the
[00:11:21] fx chain or any additional processing tools there
[00:11:26] which my opinion is pretty dope
[00:11:30] so we can already here add a modulator so
[00:11:38] let's go for what's the name curve modulator
[00:11:43] something like this we go for maybe one bar this is exactly one bar here
[00:11:48] smoothing is off we go for groove so it's synchronized to the
[00:11:53] timeline bipolar or unipolar and then we use this here to
[00:11:58] actually open up here let's say the decay
[00:12:05] so we can already make some interesting movements with this
[00:12:19] here maybe we just duplicate this and say oh let's go to two bars
[00:12:22] so we probably need here there's two times
[00:12:27] and then go up here with something else i don't know
[00:12:31] um maybe the shape
[00:12:39] so it's pretty simple but in my opinion for drum bass
[00:12:53] all you need is good sounds good modulation and so on over time
[00:12:58] and the notes are not super important but it can help
[00:13:03] i mean if you change here just so we consolidate here maybe these two loops to
[00:13:07] one so i use ctrl and or yeah ctrl and j
[00:13:12] and then we have here basically one clip and then maybe you bring in here some
[00:13:16] differences
[00:13:28] okay so this is already pretty okay i would say maybe put this here
[00:13:38] let's see
[00:13:48] it's actually not important right now all i want to do
[00:13:54] is to get some kind of groove down before i start actually tweaking here the
[00:13:59] sounds maybe put this here to 0db and maybe put here a
[00:14:02] peak limiter so i usually just um
[00:14:09] put everything to the ceiling 0db right and because that's what i want
[00:14:16] that's where i want to head i want to have at the end a very loud tune that
[00:14:20] actually peaks at 0db and everything is in its place
[00:14:24] so at the moment here i just put everything to 0db make sure here
[00:14:28] some of the clicks are actually clipping or more or less limiting there
[00:14:33] not too much just i don't want to make the sound completely dead i just want
[00:14:37] to remove here some you know some some bits and
[00:14:41] pieces here coming from probably from the ml loops
[00:14:45] um anyway so this is the bass so let's call it maybe also bass here and then
[00:14:51] let's go to the kick drum and lately i use
[00:14:55] what's the name kick ninja here put this on there and maybe a kick drum
[00:15:04] so this is the kick drum here the default kick drum but we want to
[00:15:08] actually um create a completely new one let me see
[00:15:13] in it preset okay that's it so we have here now
[00:15:18] we have here a sign with no pitch envelope and we have a sampler
[00:15:24] or three samples at the moment we only concentrate on the oscillator
[00:15:28] and we want to use a pitch a pitch envelope
[00:15:33] maybe go down and we want to add here an amplitude envelope
[00:15:37] you can see here this is exactly i think one 16 note long
[00:15:42] um 82 milliseconds yeah that's completely fine
[00:15:47] so basically one 16 note is 86 milliseconds long
[00:15:54] okay so i guess yeah it's exactly here so this is completely right
[00:16:02] so what i try now is i try to find a good frequency for the pitch
[00:16:09] so i probably want to have here at the beginning can i actually zoom in here
[00:16:14] i haven't tried this no there's no zooming don't know that's zooming okay
[00:16:20] um so in the beginning i want to have some kind of click
[00:16:23] that's too much
[00:16:26] and then i want to go down maybe do like like i showed you here we have this on
[00:16:32] the shop i want to go down to g g0 for me that's the sweet spot for
[00:16:36] some reason for drum bass kick drums that's why i always end up
[00:16:41] using uh you can also go down to d sharp if you want to have more like a smooth
[00:16:46] transition from the top from the top frequency down to the
[00:16:51] bass and then you can kind of align the end of the
[00:16:55] kick drum yeah but in my opinion with drum bass you don't need to do this you
[00:16:59] just can keep the whole bass drum above the sub all the time
[00:17:05] just need to have here some kind of uh let's go down here to
[00:17:10] can i type this in here g0 or g1 is actually in bitwig it's g0
[00:17:15] in this one it's g1 um because c3 is c4 bitwig decided to go for middle c3
[00:17:23] that's how it is
[00:17:37] later here i'm holding down alt if you when you hold down alt you can just
[00:17:43] drag this here time-wise and you can't mess up the frequency which is cool
[00:18:12] so i want to have some nice knock sound in the beginning
[00:18:18] at the moment the bass sound is actually more knocky than the kick drum
[00:18:27] well it's not a problem so we can load on here a sample uh
[00:18:30] can go to stomp which is this
[00:18:34] sounds like this
[00:18:39] so we put this on top here of the of our pitch thing uh so first up i want to
[00:18:46] use a high pass so a high pass here the sample completely
[00:18:51] maybe i go down
[00:18:58] and i want to have an amplitude envelope here
[00:19:05] so maybe here i have something like this so we have to knock from the oscillator
[00:19:10] here in the beginning there's no sample and then the sample comes slowly in
[00:19:14] also something maybe this is also not right here this is the amplitude envelope for the oscillator
[00:19:33] so now in the beginning here to click off the oscillator is a bit more quiet and
[00:19:37] then we can make this here a bit more amplified
[00:19:41] and there's the pitch maybe go down a pitch later on here
[00:19:49] that's better
[00:20:00] yeah that sounds much better
[00:20:07] then the amplitude here
[00:20:10] i don't know what the right volume is here for the click in the beginning but
[00:20:17] you can find it out then you have to kind of make it seamlessly with the bass sound
[00:20:26] all right maybe i put something here
[00:20:40] let's play around to the pitch a bit more i don't want to take too much time for this
[00:20:54] because first up i record a video and you don't want to watch this for hours but
[00:20:58] you can lose yourself in this finding the right kick drum
[00:21:02] but it's also very important that you get the right sounds from the beginning because
[00:21:12] you know it's it's the bass of the sound
[00:21:16] and maybe here fx there's an kind here often what's the name drive maybe use a hard clip here
[00:21:30] wet
[00:21:37] that's fine i want to have a bit of more
[00:21:40] there's a sweet spot and yeah i think it's fine for now
[00:21:55] maybe put an old one here at the end
[00:21:57] so now we have here a nice kick drum but it's very it's very low actually let's go to the bass
[00:22:11] here it's just still my thing on there so we can import you the kick drum
[00:22:24] so maybe i put this a bit higher here can i increase here
[00:22:29] can i increase the frequency here by once as the pitch okay let's try this
[00:22:50] so let's look at this so it's above this this the sub bass here it kind of sounds nice
[00:22:57] right it's more here then so you can play around with this maybe let's go for seven
[00:23:13] or six
[00:23:17] so nice so we have a nice bass sound here and already a nice kick let's call this kick
[00:23:27] we can also do the snare uh not snare kick ninja
[00:23:34] and i want to do the snare with this so here we put the snare on two
[00:23:43] and four at the moment it's just it's just a kick drum but um we have two
[00:23:48] in it a preset here so it's kind of an um
[00:23:56] yeah but we want to correct this we go up here with the pitch um let's say to 1k
[00:24:08] amplitude goes straight down we just need a small click here in the beginning
[00:24:14] okay
[00:24:22] and you probably need some distortion here what
[00:24:34] something like this and we need um or what i like to do is to just grab um a snare sound here
[00:24:42] something like this
[00:24:49] i think this is something with with the white noise on top so we can drag drag this in here to the
[00:25:00] first sampler uh and here we use high pass maybe amplitude um let's go down in the beginning and
[00:25:11] then this is here the click from the oscillator then we bring in the other noise
[00:25:15] then we go out
[00:25:19] let's see how this sounds
[00:25:23] can also change the pitch of the sample
[00:25:35] high pass
[00:25:42] it's now we play around to the pitch here a bit more
[00:25:52] can you hear actually my keyboard all the time i have the space the space key is pretty loose
[00:25:57] you know why
[00:26:00] um more amplitude
[00:26:12] amplitude
[00:26:23] better pitch
[00:26:35] that's maybe too short that's better
[00:26:46] so to find a nice knocking frequency around 1k that's why i like to have my snares
[00:27:05] i pitch snares
[00:27:17] so the kick drum needs probably also a bit more top end here
[00:27:32] a bit of noise in the beginning
[00:27:45] so i also make sure that you have the snare um clips at 0 dB as you can see 0 dB
[00:28:01] that's basically perfect and also the kick drum so everything clips at 0 dB which gives you
[00:28:09] more or less a lot of clipping also on the master but it's okay it's just a drafting phase but you
[00:28:15] can go down maybe minus 60 dB here if you don't like it
[00:28:20] anyway so i have kick drum snare in the very so it's very basic very simple but we're just
[00:28:28] building up here the stuff so now we do some hi-hats and you can do this in all kinds of
[00:28:36] different ways you can just choose here the V1 hat in bitwig the hi-hat thing
[00:28:44] i feel some kind of stupid preset let's remove this all here and just go for
[00:28:55] something very simple so we have here 160 note hat second one the second one goes down in
[00:29:02] velocity and then we make this very short here then we can loop it
[00:29:07] bring down at the mix of the comp and bring down here the mix of this modulation
[00:29:19] or the hit mix bring down the hit mix and you can play around here with some filters
[00:29:25] it's maybe too quiet so pick limiter
[00:29:32] so we have your two velocity settings more or less very basic so we can use your expressions
[00:29:46] velocity and maybe make the second one a bit longer because it's lower velocity or the first
[00:29:52] one longer because time velocity so this is something or we make the opposite
[00:30:02] like this so this one is short and this one is long
[00:30:17] so we group this together and say this is here the drum group
[00:30:29] so my maybe the hi-hat's here a bit too loud so go down by -4 dB or -5 or whatever
[00:30:39] so because everything clips at 0 dB here for my music channel right here this output of the
[00:30:51] hat clips at 0 dB i know exactly when i go down -5 dB here on the output i know exactly the hi-hat
[00:30:58] peaks 5 dB quieter or lower than the rest of the stuff because the rest of the stuff also
[00:31:06] peaks at 0 dB so the hi-hats are exactly 5 dB lower in volume because here it peaks at 0 dB at
[00:31:12] output so it's basically gain staging for or easy-peasy gain staging also your all my sliders
[00:31:21] are at 0 dB that's still the default for me so i know exactly when i do this your -10 the snare
[00:31:31] peaks now at exactly -10 dB because in the chain it peaks at 0 dB i hope this makes sense in a way
[00:31:46] you can also do something like make this a bit more organic by using samples
[00:31:54] so i have here let's say where's my thing this one here i have some kind of
[00:32:04] snare and i have here some drum loops i like to use
[00:32:29] right something like this maybe so we drag this in
[00:32:32] but we don't need actually the kick drums here and the snares so we can either just mute them make
[00:32:42] them quieter
[00:32:58] so maybe put here a thing on there
[00:33:10] thank you because we only need more or less here the top
[00:33:18] top loop game and sometimes here there are some top loops in there without kick and snare i think
[00:33:24] they're called top i'm not wrong
[00:33:28] tops maybe probably not but there are some loops in here hi-hat loops
[00:33:38] that you can use i can't find them anyway so i just used used to cut out here basically the
[00:33:46] low end so the snare and the kick is out of the
[00:34:00] oh yeah this is 172 bpm here
[00:34:15] as we go for slicing mode and we type this in
[00:34:22] 172 we start at the beginning
[00:34:35] so this bass sound now is a bit too repetitive for me for me here so
[00:34:52] so maybe we should make some changes down
[00:35:01] make it a bit more funky
[00:35:22] let's try something like this so it's more try and error
[00:35:32] so we can instead of using here this envelope
[00:35:42] so we use the envelope maybe for the pitch okay let's try this one so we go
[00:35:51] 12 semitones up right that's too much
[00:35:56] okay and then we can maybe try to use an LFO
[00:36:04] maybe curves or maybe just very simple i like to keep it simple for some reason i'm a simple man
[00:36:14] classic LFO and you watch your lights here this one probably
[00:36:20] the
[00:36:32] so this is kind of interesting so i really like that
[00:36:49] i have to use here the non-timing feature so its hertz is basically free running but i use no
[00:36:56] tree trigger so i re-trigger the face of the LFO each time i play a bass sound but i like to have
[00:37:03] different hertz settings here so maybe i just use here the automation recording i have this on a key
[00:37:11] and i just play around right and then i just recorded this
[00:37:29] so we have placed here in the middle for maybe some kind of
[00:37:45] chord sound or let's try something here let's use a very basic synth
[00:37:56] and we are on D so we start with the saw maybe the tuned and something like this
[00:38:04] and we use the dominant so now we have this note and i think we also use
[00:38:12] yeah we basically use this this and this which is not in a scale so let's say we stick to D-sharp
[00:38:20] minor we have to move this and this let's say we use D-sharp harmonic minor we can keep this which
[00:38:28] gives us some kind of oriental kind of sound and this one here is actually part of D-sharp
[00:38:36] Phrygian but it's drum bass no one cares so we can just keep all of these three and say we are
[00:38:44] probably in Phrygian and in harmonic minor which sounds a bit dissonant but also kind of interesting
[00:38:54] unpleasant maybe a reverb on that
[00:39:11] let's see how this sounds
[00:39:13] we have to copy this
[00:39:25] all right but here we maybe open this up
[00:39:48] maybe it's too loud but
[00:40:01] minus six minus eight
[00:40:10] so we can do something like that we keep it
[00:40:30] and maybe just bounce it bounce and then here we reverse it
[00:40:43] and here maybe we do a different chord
[00:40:54] and a filter
[00:41:05] filter here after after the reverb so we can mute the reverb
[00:41:14] can i bring this in here yeah
[00:41:19] like this
[00:41:20] a bit faster
[00:41:23] yeah that's better
[00:41:30] maybe a bigger reverb
[00:41:43] it's more snappy bounce
[00:41:46] that's better
[00:41:49] it's maybe too much but you you get the idea
[00:42:00] boing so here we do this and here maybe we do the other trick maybe like this
[00:42:11] so now maybe it's time to bring in here
[00:42:20] it's compens uh consolidators here
[00:42:36] and maybe a different or is there actually inside of kick ninja there's something like velocity
[00:42:43] oh yeah it's here down
[00:42:46] so we can make here the ghost notes a bit you know a bit lower in volume
[00:42:54] oh there's here enough there's enough set for some reason what what's happening here
[00:43:04] okay let's see
[00:43:17] are you here
[00:43:23] maybe better huh
[00:43:30] yeah let's do the ghost note also here
[00:44:01] so this is the bass this is the drums so let's combine this to a drum and bass bus
[00:44:29] let's um kind of do you something i like to do fx three
[00:44:39] okay and i have here three octaves each band splitting so the frequencies are at 200 hertz
[00:44:49] and two k two kilohertz which means when i put here some peak levels in there we have exactly
[00:44:58] in each band three octaves of frequencies which means if i put all of these boxes here at 0db
[00:45:05] i have exactly kind of a pink noise curve
[00:45:18] so it's kind of a multi-band limiter also an ecu at the same time
[00:45:25] so you don't need to use limiters in here you can use clippers you can use compressors you can
[00:45:35] and use whatever you want to use
[00:45:38] so this is here basically an ott put a single band ot team
[00:45:45] so it's this upward compression and downwards compression here but very very slightly
[00:46:02] and then we put here an over
[00:46:13] so the rest is more or less um um kind of making this longer and
[00:46:26] we can make this longer by just adding more weird sounds to it
[00:46:32] for some reason or maybe change here the the top drum loop this is something very easy to do
[00:46:41] so instead of let's go back to a full loop here
[00:46:48] something like this so we can drag this in here and say this is one of the
[00:47:01] slice 174
[00:47:05] put this in here this is a very easy way of doing this
[00:47:12] why is it the wrong the wrong length here probably because i imported the wrong speed selling
[00:47:24] then it's a bit mono and sometimes i like to make something very stupid i put the reverb on the drums
[00:47:44] but very short so it's more like a room or physical modeling kind of thing i cut out here all the lows
[00:47:52] so this is dry
[00:48:18] it's probably better to just use um what's the name
[00:48:23] Valhalla room can also make very short rooms here but i like this super massive for some reason don't
[00:48:31] ask me i can put your also dynamics tool on that
[00:48:51] that's too much reverb but it sounds nice on my
[00:49:00] on my headphones that's also what i always discover with headphones might
[00:49:05] i tend to over amplify the tops for some reason because i like to hear all the details
[00:49:12] but then i hear it don't speak because it sounds completely out of you know out of balance
[00:49:18] but this should be fine i'm using actually headphones at the moment so
[00:49:26] in my opinion it should be okay
[00:49:35] so this is not what i like here so maybe i put just some kind of so i'm using the same
[00:49:48] polymer all the time and just bouncing out here some stems i like so this is something
[00:49:58] maybe it's a bit too old school here what i do
[00:50:42] uh maybe maybe this it's okay not so much
[00:51:32] there's something very low in volume
[00:51:44] right we have here on the polymer we have this nice high pass
[00:51:51] high pass filter at the end which is super helpful you don't need to add anything
[00:51:57] in the post process here just push this up and you have high pass
[00:52:24] also a nice trick that i use sometimes in the bass sound here right it gets boring
[00:52:32] we we know the pattern already so we want to have some kind of change in the pattern here
[00:52:36] so sometimes i just put the delay one on that feedbacks down filters all the way up
[00:52:48] and i just delay the whole channel by two beats you can do this here also in bitwick
[00:52:55] with a no deal no delay in front but for some reason i like to delay the audio signal because
[00:53:05] sometimes you have weird modulations on that and you want to keep it just delay it by two beats
[00:53:12] so here maybe we go higher
[00:53:22] higher and we want to probably
[00:53:34] have a different sound to it so the delay is on here but we can switch it off
[00:53:40] and just switch it on here for this uh for this section right
[00:53:46] maybe a bit earlier can i move this in front why not
[00:53:55] maybe here so right so we have here some kind of groove
[00:54:07] and then it switches
[00:54:18] so here there needs to be some kind of break
[00:54:34] we can build in maybe we use this one here
[00:54:48] just to lay it a bit
[00:55:17] we can also make a small adjustment to the bass sound itself
[00:55:23] maybe we use here macro call it mod
[00:55:29] and we change this here go all the way up and mod changes some things maybe we go here one
[00:55:42] ratio point higher or maybe more
[00:55:49] or maybe we offset the face of the lfo
[00:56:18] okay so we have already a nice groove there and it changes over time slightly it's more like a
[00:56:43] minimal drum bass roller i guess but that's how it happens it just accidentally happens
[00:56:50] if i change the kick drum make it longer or fatter if i change the snare in a different
[00:56:56] frequency and it sounds completely different so it's all about these mini adjustments and it
[00:57:01] all depends on what kind of drum bass you like and you know it's more like you have this rolling
[00:57:07] drum bass more light head drum bass you have more like this neuro funk drum bass with a
[00:57:13] fat kick drum and fat bass and resounds and so on so you can put this in all kinds of directions
[00:57:18] it all depends on taste and what you want to go for and that's maybe in my opinion the hardest part
[00:57:25] but all of these music productions you have to develop some kind of taste so you know exactly
[00:57:31] where you want to head or what you need to do to get some kind of result or what you like
[00:57:37] most people don't know what they like they just hear something i think oh this
[00:57:42] maybe it's something i like but when they are confronted with some empty page an empty project
[00:57:49] template or you know empty project they don't know what to go for because they just don't know it
[00:57:57] it's the hardest part in my my opinion to develop some kind of taste
[00:58:02] anyway we have here still some empty space in there and i tend to like sometimes to create
[00:58:11] just another bass sound in there so we can either duplicate this here and just start with the same
[00:58:21] bass sound let's remove this here for a moment right we put here something in there
[00:58:30] and we make this
[00:58:43] we make this a bit different so we can also just delete this here because we don't need it
[00:58:53] we use different settings for kind of everything let's put this here hello
[00:59:19] we also want to delete here
[00:59:28] maybe this
[00:59:32] i also want to make it a release time very short because this one is not choked by this note
[00:59:47] maybe the tire
[00:59:52] oh it's the wrong bass damn sometimes it happens
[01:00:10] okay
[01:00:22] so here maybe we take fx2
[01:00:40] split it in two bands and maybe one of the thirds put a super massive on that
[01:00:52] because it sounds cool in a way
[01:01:08] and maybe pitching this down over time can maybe use your down
[01:01:36] a bit of pitch modulation let's see how this sounds
[01:01:48] let's bring this down
[01:02:06] all right this also sounds nice
[01:02:32] so i guess working like this is not for everyone because i know exactly what i want
[01:02:40] and what i want to do so it's highly customized so i that's why i start with you know building
[01:02:46] the kick drums building the snare drums and building the basses from scratch i guess most
[01:02:51] people just go with some kind of accidental workflow where they you know use some random
[01:02:57] synthesizers and fiddle around with your reg and then they record something and cut something out
[01:03:02] i like to tend to customize everything exactly how i want it to be so it's maybe not for everyone
[01:03:09] but at the same time you can do so much with so
[01:03:14] less things as you can see here it's it's it's not super complicated i just used some modulators
[01:03:20] and some some basic synthesizers and there's not a lot of processing going on it's very minimal
[01:03:27] actually in a way
[01:03:53] interesting point could be to use a delay track here also on that one
[01:04:07] let's see all the sounds that's two maybe four
[01:04:36] so i'm not really sure about the step sounds yet maybe not the best i could probably do something
[01:04:41] better but for the sake of this tutorial i just keep it i'm not really sure probably when i hear
[01:04:47] this song or this track multiple times i get annoyed with this and i probably put a lot of filters
[01:04:53] on it and you know make it or try to make it more interesting so already have here 44 almost a minute
[01:05:03] so let's um put all of this here into a group and call it all so we can
[01:05:09] duplicate this stuff maybe i give it here a different color i don't know i would like this
[01:05:17] let me copy copy this over let's give it a different color
[01:05:23] so here we don't want to have the steps maybe so so that's all i do basically i just make random
[01:05:33] patterns and try to make fit them together so here by just cloning and making some small
[01:05:40] adjustments here and there so maybe here can maybe change this also a bit
[01:06:04] and then go one octave higher
[01:06:28] and here we have this okay this it's fit
[01:06:31] so we can add maybe here a bit of percussion for some reason
[01:06:43] do i have something browser maps or
[01:06:53] okay some fine grained galaxy
[01:06:57] yeah let's get some percussions in here
[01:07:04] oh that's there's an offset at the beginning let's use the internal sequencer here for this
[01:07:20] um let's make some odd numbers here
[01:07:25] and here we use this and use also different number
[01:07:33] we use here different number
[01:07:47] okay so sounds like some cows
[01:07:51] can uh yeah can mark everything and then make the shape shorter
[01:08:14] yeah we put here a clipper at the end
[01:08:32] and maybe a high pass in front
[01:09:00] maybe interesting to put your also super massive on that
[01:09:24] maybe put this in the drum group i don't know if this fits
[01:09:48] okay let's bounce it out i make it a bit longer because it's kind of polyrhythmic
[01:09:54] uh 32 bits yeah so we can just kill atlas here and call this perks
[01:10:03] maybe repeat this here at this position
[01:10:20] and at the end maybe you reverse it
[01:10:28] just for the lows
[01:10:30] and here we also reverse this
[01:10:38] and just get rid of all of the stuff here
[01:10:42] maybe the bass maybe make a change to the bass here
[01:11:02] so we can maybe bring in another
[01:11:19] i don't know musical element i don't know maybe it's too much
[01:11:25] is this muted oh yeah
[01:11:37] let's keep it this way
[01:12:04] so this is also not in the scale
[01:12:05] so this is this is here the let's try this way so this is a fritchin and harmonic minor combined
[01:12:19] well it sounds nice
[01:12:47] maybe the layer of the layer let's you
[01:13:26] so you bring in the modulation amount here to the
[01:13:44] filter over time
[01:13:48] and maybe make the let's add a mod a macro here that's maybe better
[01:14:00] um so this one makes this longer
[01:14:09] delete automation this one makes this longer then we
[01:14:14] call this mod it goes up
[01:14:32] maybe the tune slightly
[01:14:37] and then it starts in the beginning
[01:15:00] and here maybe we put this one octifier
[01:15:24] i don't know
[01:16:39] um yeah i don't like it
[01:16:53] anymore so i probably have to find just some different sounds but i also don't want to go into
[01:17:00] two hours of sound designing some random sounds i throw out anyway
[01:17:06] um so yeah i just give you an idea basically how i do this
[01:17:20] oh yeah we put this here also in here
[01:17:24] maybe call this group i don't know music
[01:18:16] so okay i kind of like the sound here so maybe we do small
[01:18:32] change to that here
[01:18:36] so do we have any modulations here
[01:18:42] reshaping okay
[01:19:22] so here maybe we can also do something
[01:19:40] uh let's duplicate this again
[01:19:43] oops and we
[01:19:49] do something like this
[01:19:55] or does it delay on it
[01:20:11] where's where's the delay coming from
[01:20:21] and this one here
[01:20:31] there's no delay on this where's the delay coming from
[01:20:35] okay um let's duplicate this again
[01:20:44] and a stupid
[01:20:55] there's no delay on it
[01:20:59] is there here some kind of delay
[01:21:05] um okay
[01:21:09] okay that's no delay it's strange
[01:21:22] that has to be a bug
[01:21:28] so
[01:21:31] so when i duplicate this
[01:21:39] on this track there's no delay
[01:21:43] strange
[01:21:50] so
[01:21:58] wow that's new
[01:22:07] never experienced this it's the first time having this
[01:22:14] maybe i'm stupid maybe i did something
[01:22:19] so
[01:22:24] i haven't saved this yet
[01:22:30] i haven't saved this so i'm doing this now get me a random name
[01:22:43] uh toriel bass
[01:24:17] that's okay i don't like the second part yet too much
[01:24:33] i i think it's you know the melodies
[01:24:36] and so
[01:24:38] i'm sure maybe i need here some kind of sound design
[01:24:41] for just the nice step sound that's a bit longer
[01:24:45] so you have the feeling of some kind of melody but
[01:24:49] not actually having a melody because the melody if you put a melody in there
[01:24:53] it's the track loses its coolness in my opinion
[01:24:57] most of the time but i kind of like stupid melodies so
[01:25:01] i guess
[01:25:11] but at the same time we can use also the stupid melody here in the beginning
[01:25:21] maybe for something else
[01:25:25] so
[01:25:34] make this longer
[01:25:42] content scaling 200
[01:25:46] percent
[01:26:24] oh damn it
[01:26:29] and make this longer it doesn't work only here
[01:26:35] so i have to use here make
[01:26:39] have a shortcut for this stretching but i forgot it
[01:28:02] maybe something like this
[01:29:49] it's actually not that bad it just needs
[01:30:05] some work um in terms of master so basically finishing this tune is me
[01:30:12] really like listening this for
[01:30:15] you know multiple times and then making details in every corner so it
[01:30:22] doesn't sound boring over time or maybe get some interesting sound effects
[01:30:26] maybe replacing here the melody with something else
[01:30:29] something like this but i don't do anything more
[01:30:32] um maybe then in the end with the mixing
[01:30:36] i put on some
[01:30:41] some EQing here maybe tame some frequencies but nothing big
[01:30:45] it's just you know getting something out of the way
[01:30:48] maybe ducking the bass a bit more here and there
[01:30:52] but also nothing nothing nothing special as you can see here the kick drum
[01:30:58] right is right over the bass
[01:31:04] so you don't need really to duck the sub bass away
[01:31:08] uh yeah and then the end here it goes straight into
[01:31:12] this mastering limiter more or less
[01:31:17] maybe also in a cue here at the end but most of the stuff is actually on the
[01:31:21] track itself putting all the sounds in the right place
[01:31:26] or in the right places filling out the frequency
[01:31:29] spectrum maybe using here at the end a tonal balance
[01:31:34] uh what's the name tonal balance control here and then you have a curve
[01:31:42] on there that you like i feel my special curve deep
[01:31:45] the nb curve i really like
[01:31:49] you can see i'm already i haven't checked it but i already
[01:31:54] in kind of the right places here maybe a bit more top end
[01:31:59] so i don't need to do that much if you just
[01:32:03] create it in the right way if you know what i mean
[01:32:07] so um i guess this tutorial is not really helpful because i do a lot of
[01:32:12] stuff actually that's based on experience
[01:32:17] early experiences and i have a special kind of workflow i know where to put
[01:32:22] things and what kind of kick drums they use and what kind of snare drums do
[01:32:26] so it's all like small little details and nuances and decisions i made i make
[01:32:32] along the way that gives you the result i'm getting
[01:32:37] so in my opinion all these tutorials on youtube are more like inspirational
[01:32:42] actually than helpful because most of these producers do this for
[01:32:48] a lot of a lot of years and everyone has their own kind of
[01:32:52] workflows and decision making processes and
[01:32:56] tastes and stylistic choices here and there
[01:33:00] so there is no like one tutorial to watch it and then you know it all
[01:33:04] it's impossible but i guess for some inspirational
[01:33:09] you know inspirational content so you can see how i do it what i do and i try to
[01:33:15] describe what i do and what kind of decisions i make and why i make it
[01:33:19] at least i try to um i don't know if i if i want to
[01:33:26] finish this i need two more hours right and that's way too long
[01:33:31] and i also like to or tend to like to have this on my hard drive so i just
[01:33:37] save it now right and then i leave it on the
[01:33:40] hard drive for maybe two weeks and then i listen to it again
[01:33:44] in two weeks and i know instantaneously what to change
[01:33:48] and what i like what i don't like and that's not possible in just one
[01:33:52] session but i guess for one session we have here a small
[01:33:55] little intro i put some interesting sounds maybe there
[01:33:59] some sound design maybe a sample building up
[01:34:04] and then dropping in here makes some changes to the rhythms
[01:34:08] and so it's so it keeps being interesting
[01:34:13] and that's basically it so it does not much to it actually then just detail
[01:34:18] work and putting in the the hours okay i hope this helps
[01:34:23] um and yeah let me know what you think maybe
[01:34:28] leave a thumbs up maybe say play with you why you haven't finished this in this
[01:34:32] video make it longer and so on i have no idea
[01:34:35] let me know in the comments down below leave a subscription and
[01:34:39] maybe subscribe on patreon would be helpful thanks for watching
[01:34:43] see you next video bye
[01:34:47] this intro is way too long it's nothing not interesting enough
[01:34:56] it needs more work
[01:35:02] maybe i place something on my heart drive sense uh heart heart rate synthesizers
[01:35:11] it's actually a good idea
[01:35:28] i could also take here these steps and maybe tease them before i drop
[01:35:34] maybe filter them differently
[01:35:46] the sounds whack but
[01:36:53] that's it bye