Creating Iconic Bass, Pad, and Lead Sounds Using Subtractive and FM

[00:00:00] Hey folks, what's popping? So the day I thought I make a tutorial about classic
[00:00:05] sounds, how to do them in Bitwig Studio, but you don't need to use Bitwig Studio.
[00:00:10] You can do this in every DAW, you can do this with every basic subjective
[00:00:13] synthesizer, and it's always nice to know how to do these sounds because it's
[00:00:18] the basis of all the other sounds you can hear in, you know, presets, libraries
[00:00:23] or sample collections or whatever. It always starts with the basic sound or
[00:00:29] with the classic sound and then you put something on top or you make some
[00:00:33] iterations, you make some small alterations to it and it can make it
[00:00:38] more modern, but you always need to know how to create these classic sounds. I
[00:00:42] make it quick, I make it simple, maybe it's helpful to you, okay? So let's start
[00:00:49] here in Bitwig Studio with this track here and you want to use a very basic
[00:00:55] subtractive synthesizer, the Polymer here. So we have here an oscillator, we have a
[00:01:00] filter, we have an amplitude envelope, we want to switch this here to an ADSR, so
[00:01:04] we have attack, decay, sustain, release, we have a filter envelope here and we
[00:01:10] don't need to need to use here these modulators for now. And we want to start
[00:01:16] with, let's say, a respace sound, right? So in the last video I showed you a resound
[00:01:23] and someone want to know how to make these sounds, you can do this in 5,000
[00:01:28] different ways, okay? So we can use here a very basic saw oscillator, sounds like
[00:01:36] this, maybe open up the filter here. And a respace line is usually just two saw
[00:01:46] ways slightly detuned, we can do this here in Bitwig by just using one
[00:01:51] oscillator here. And then we can use the sub oscillator here, mix it in by 50%, so
[00:01:57] this is the second oscillator, and then switch this here to a saw and the octave
[00:02:01] is here at zero, so we have the same tuning, but then we can detune here the
[00:02:07] first one. And the beating or the beating frequency is basically the
[00:02:18] difference between this frequency here and this frequency. And this is already
[00:02:22] here, some kind of nice, you know, respace sound. So it's perfect for drum
[00:02:35] bass. I usually switch the polymer into a monophonic mode at the left side here,
[00:02:42] voice is 12, switches down to mono, so it's a monophonic sound. But this
[00:02:46] is basically one sound that you play, the other sound chokes the first one. So you
[00:02:52] can just hold down one key, and then you play another on top, and you don't play
[00:02:57] a chord, right? So it just cut out basically the first sound with the second
[00:03:07] sound and so on. And if you release the last sound, you switch back to the first
[00:03:11] sound, so it's very nice. We can also use the glide here, so you have, what's it
[00:03:17] called tremolo, it's not tremolo, it's actually just glide. So you glide from one
[00:03:21] oligato, you glide from one sound to the other.
[00:03:24] Very basic, very simple. Always nice on top of this is to use a notch filter,
[00:03:41] and I show you this here by using a spectrum analyzer.
[00:03:46] So you can see all the moving frequencies here, pretty much the whole
[00:03:54] frequency spectrum is there. But then we bring in here a notch filter, as we have
[00:04:00] notch. I mean, this sounds, it always sounds nice for some reason. It always
[00:04:21] makes me smile. So this is the classic drum bass phaser. Sometimes people use a
[00:04:26] lot of different techniques to create this, but this is the simplest one in my
[00:04:29] opinion. Just put a notch on it and drive the notch through the whole frequency
[00:04:35] spectrum and you get this nice classic sound. Sometimes I switch here the key
[00:04:39] tracking off. So the key tracking is basically changing the center frequency
[00:04:43] here of the filter when you change the key on the keyboard. And if this is off,
[00:04:48] the filter is basically your static, so it's always at 1k no matter what kind of
[00:04:53] key you use. So yeah, this is one way of doing this. Another way of doing this is
[00:05:01] by, instead of using here the, what's it called, the sub oscillator. So we pull
[00:05:06] this down. We have just one, one saw. You can use a bit here, this feature called
[00:05:13] stereo detune. So when you have this switched on and dial in here an offset,
[00:05:19] the left side of your speaker or the left channel has a different frequency
[00:05:24] than the right channel. So this is the difference between the two. It sounds very
[00:05:30] weird, but then it's also very wide because you have different information on
[00:05:35] the left side than on the right side. So we use your tool of Bitwig and then pull
[00:05:41] down the width so it's mono. So we just completely remove the side information.
[00:05:46] So this is how it sounds.
[00:05:49] Right? It's basically the same effect. The difference here is that, but the first
[00:06:10] technique we have more or less here, the sub oscillator, at the perfect
[00:06:15] frequency of your note. So you play a note and the sub oscillator is exactly
[00:06:20] with the saw wave on this frequency. And then we detune only this one that is on
[00:06:25] top here with the offset. Okay? But with this technique here, we basically detune
[00:06:30] one oscillator and the other oscillator and the right, the middle
[00:06:34] frequency basically between the offset here is exactly in the middle. So we have
[00:06:40] two saw waves that are completely detuned to the one side and to the other
[00:06:44] side. And the right center frequency of the key is in the middle. So it's a bit
[00:06:49] different because, yeah, it's a different technique, but it's kind of the same
[00:06:55] effect because you don't detune for that much hertz here, right? So it's always a
[00:07:02] bit off. So that's the kind of the source, the sweet source of this
[00:07:07] resound that it's always a bit off, that it's always a bit detuned. In my
[00:07:13] opinion, both of these techniques sound nice.
[00:07:18] You can see one downside of this is, or it's actually not the downside, you can
[00:07:30] see at the fundamental frequency, right? It's moving up or down because you have
[00:07:37] this beating, you have two sounds that playing at a slightly different
[00:07:42] frequency. So you have this volume modulation there. And some people don't
[00:07:49] like it. I would, I really love it. I think this makes the respace sound
[00:07:55] good. Also in the club system that you have this nice movement up or down
[00:08:01] movement of the volume. Some people, some modern producers, I guess, don't like it.
[00:08:06] They want to have everything pretty static. They want to have a static volume for
[00:08:09] the sub, for some reason. I don't like it. For me, it sounds too static. But you can
[00:08:15] do this too in Bitwig. So you do the same trick, but not with the saw-tooth
[00:08:19] oscillator. Here you do this with the wavetable oscillator. You switch to, yeah,
[00:08:25] saw wave. But we have the same setting here, right? It's the same sound.
[00:08:31] But now with the wavetable oscillator, we have here a feature called remove
[00:08:37] fundamental. So we switch this on. Now you can see that the fundamental is
[00:08:42] missing, right? So we remove this. And then we bring in the sub oscillator with
[00:08:51] the sine by 50%. And then it's super static. The top ear is still the wavetable
[00:09:00] beating, but the sub oscillator is just one sine partial playing the sub.
[00:09:05] It's super clean, but you miss the movement, in my opinion.
[00:09:26] I kind of love these sounds. It's really my classic bass sound. I can't get
[00:09:33] enough of this. Okay, so this is the resound. You can modify this, of course,
[00:09:41] in all kinds of different directions. So instead of saw, you can use your
[00:09:45] a pulse or a try. You can also use here a sine. Maybe let's switch this back
[00:10:07] here to the original idea with this nice movement. I really love it. Nice. Okay.
[00:10:19] So then you use maybe here some kind of distortion at the end. You can use
[00:10:26] different distortions for different effects. So let's say I can use the filter
[00:10:32] plus here. So we can use a soft clipper at the end.
[00:10:59] So here we can use, let's say this decay or this filter envelope and use it for
[00:11:05] the pitch. So we have a pitch down like a bass drum, but not that much maybe.
[00:11:13] Maybe we use here, I don't know how much we use. Let's say 12, one octave. Let's
[00:11:22] start with this. So it's also kind of a classic drum bass step bass sound. So
[00:11:47] like a pluck bass sound. I really like to do this, not here with the, let's say
[00:11:54] with the detuning. I really like to use this here, just monophonic. Maybe not too
[00:12:05] much of distortion. Maybe a bit of noise on top. Without glide. And because of the
[00:12:24] noise sounds like you have much more distortion than there is actually
[00:12:28] happening on the sound. So that's what I do sometimes. So it's also a classic
[00:12:34] drum bass sound here. Also having here this release time all the way up. So it
[00:12:40] sounds more like an 808 bass sound.
[00:12:53] Maybe like this. So it's something that it's used heavily in the early days of
[00:13:11] jungle or drum bass. These kind of jump up bass sounds. It's just your sign or
[00:13:18] tree try, which gives you a bit more overtones or just using here a pulse
[00:13:24] for that and then using your filter to cut some overtones away.
[00:13:37] Maybe without you the pitch drop. Okay, so it's already, you can see it's already,
[00:13:50] it started with basically a saw wave, but then a lot of people just modified
[00:13:54] this idea to all kinds of different waveforms and you always land on
[00:14:00] something that someone already did in the past, right? So that's why I said
[00:14:07] it's sometimes important just to know the classic sounds and then you hear a
[00:14:13] sound, basically a fancy sound in some other production and you know instantly
[00:14:17] oh it is just a modified version of this or it's just a modified version of
[00:14:20] that. So that's how it goes sometimes. Okay, so this is that. Then there's
[00:14:28] also modified version of the 3-space sound. Instead of using just two saw
[00:14:32] waves to tune, we use much more. We use 16 voices here. Let's see what this
[00:14:38] sounds. Then we detune this all the way.
[00:14:44] Maybe use FAT and spread.
[00:14:53] Maybe too much, but then we can use the filter here. Maybe a steeper filter. So
[00:15:04] let's use sound key. So we can use LP3 and then maybe use an ARP and dial in a
[00:15:15] very chromatic idea here. Let's go to 11. Let's see what this sounds like.
[00:15:27] You have this kind of cyberpunk bass or hard techno, dark techno. I don't know
[00:15:44] how it's called. But these type of sounds also you need heavy distortion of
[00:15:48] course on this one. Maybe this type of distortion here. A hard clipper.
[00:16:10] You can experiment here with how many voices you want to use. Everything
[00:16:16] sounds a bit different. Also your same trick. If you want to have a static bass
[00:16:22] sound, you can do the same thing here. Remove fundamental, use then assign. You
[00:16:28] have a clean sub bass. Maybe you're keytracking on, so it's exactly on the
[00:16:39] right frequency.
[00:16:41] It goes in the right direction. You probably need to write distortion more
[00:17:02] than you need to write synthesizer for this type of sound. But you can hear
[00:17:05] already what direction it goes. Okay, so that's that. Another typical
[00:17:13] sound is this synthwave sound or synthwave bass that you hear probably in
[00:17:19] certain productions. I think it was heavily used by Kavinsky. I don't know
[00:17:27] if I recall this correctly. But this is where you use more or less like a saw.
[00:17:35] Let's use a very simple one here. Just a saw wave. And then we use some
[00:17:42] acid type of techniques on top. We use here no keytracking. We open up the
[00:17:49] filter like this. We use a lot of resonance. Then we use distortion.
[00:18:04] Let me check this here.
[00:18:09] Also here it's very important what kind of distortion you use here on top.
[00:18:30] Everything can sound a bit different. And yield different results. But you get
[00:18:38] the idea.
[00:18:40] So heavily used in synthwave as a bass sound to make it a bit more modern. To
[00:18:57] all the bass sounds we just did, you can do a lot of things in the post FX
[00:19:03] section. Instead of just using here distortion, we can do a lot of
[00:19:08] things more. So what I do usually is using EQ heavily because I can shape
[00:19:15] what's going on in the overtones. Here we have still this Kavinsky bass.
[00:19:20] Maybe I put this here at the end. So we can bring out certain harmonics better
[00:19:31] and it sounds much cleaner. You can take certain frequencies out.
[00:19:37] And it's also nice when you modulate this or when you automate this. So it
[00:19:46] changes over time. It gives you a lot of movement. Also having this in front of
[00:19:50] distortion can be nice. It gives you different results, different positions.
[00:19:57] So you have to experiment with this.
[00:20:00] So this is basically true for all the bass sounds. Also re-space sounds are
[00:20:09] usually the basis of my these typical drum bass/neurofunk bass sounds. But
[00:20:19] instead of just using a filter here, I'm using an EQ with multiple notes moving
[00:20:26] up and down the frequency spectrum then using notch filters, multiple
[00:20:30] distortions and so on. So you put a lot of effects on it and it tried to shape
[00:20:34] the sound. But the bass, the fundamental or the foundation of the
[00:20:39] sound is always this kind of re-space sound with the with the saw lead or the
[00:20:43] tuned saw leads. Yeah, okay, just to summarize this. I don't try to make it
[00:20:49] too complicated, but you get the idea. You have always the same foundation and
[00:20:54] you put some cherries on top. So enough of these bass sounds here. We can also
[00:21:00] use this, of course, for lead sounds. So we have here still the saw. We use
[00:21:05] Unison 16 voices FET all the way up. We don't want to use the monophonic or the
[00:21:11] mono tool at the end. So with this, we can already play an octifier. Maybe without
[00:21:18] the resonance. And we get some EDM pluck sounds. Something like, you know, I don't
[00:21:28] know, what's the name? Deadmauft, Deadmauft uses for some reason, using our
[00:21:34] Pecheater here. Convolution reverb and of course delay to fill up the gaps. Let's
[00:21:47] see how this sounds.
[00:21:50] Right, so here, what kind of filter you use decides how much of overtones you
[00:22:04] cut away. And it gives you more modern sound or more old-school sound.
[00:22:33] So this is a very classic EDM pluck sound here. Also not far away from that is open
[00:22:41] up the filter completely. We don't use a filter at all. So it gets rave-y. It's like
[00:22:48] a rave sound. But then you just overblow this here by the tune, the fuck out of
[00:22:52] it. And then instead of having here maybe all the filters or low-pass filter use
[00:23:05] maybe a bandpass, a very wide one. And then focus on the frequency spectrum you
[00:23:11] are interested in.
[00:23:14] Right, so you get this type of rave sound. It's just a lot of detuning here. That's
[00:23:32] basically the trick. Not just down here, which is to to harmonic. You go up
[00:23:41] here. Again, if you want to bring in a bit of you know the real root fundamental
[00:23:50] frequency, you can always use the sub oscillator here and bring in a sign at
[00:24:00] your center frequency.
[00:24:03] So yeah, that's that. I completely forgot the asset sound. The asset sound is
[00:24:28] actually more or less the same thing as the Kawinsky bass sound. But you just
[00:24:34] overblow the resonance here. I completely forgot about this. Damn, maybe
[00:24:41] I'll just show it to you here quickly. Let's go back to the bass sound there.
[00:24:48] And maybe use classic pulse. And then very open, very easy LP1, LP2. I think on
[00:24:57] the TR3R3 it's an LP2, if I'm not wrong. A lot of resonance here. We get
[00:25:07] already this sound and then distortion of course at the end. We use here this one
[00:25:18] again. Like this. [Music]
[00:25:29] . [Music]
[00:25:49] You get the idea. So it's all about finding the sweet spot here of the center
[00:26:07] frequency of the resonance and of the filter envelope and then the right
[00:26:12] distortion. Okay, so this is the asset bass. Just to make this video complete.
[00:26:17] Okay. Okay, so we talked about the rave sound and something also close to the rave
[00:26:27] sound and the EDM plug is of course the pad sound. Okay, so here we have also a
[00:26:34] saw. We have a low pass filter here. No resonance and we need sustain and we have
[00:26:42] a slow attack, long release. And we also want to open up the filter very slowly
[00:26:47] and want to close it very slowly. Keep the filter open here with the sustain.
[00:26:52] Just a bit of that. We don't need that. Do we have here root? No, it's okay. 16 voices
[00:27:00] unison, slightly detuned, fat. That's okay. And we don't need here an arp, of course.
[00:27:09] And we want to go to the middle. And we want to use polyphonic. So we use your
[00:27:16] voices mono, use maybe 16 voices.
[00:27:20] So this is how we create a nice bread and butter pad sound. Every pad
[00:27:44] sound is based on this idea. Of course, we need to put a lot of reverb on that.
[00:27:49] If you ask me, 50% here. Let's see how this sounds.
[00:27:57] And low pass 2 is okay, but you can also play around here with the filter type.
[00:28:09] So maybe cut some more high end away.
[00:28:15] And sometimes just using a bandpass, a very wide one is cool.
[00:28:23] It depends on your track and where you want to fill up some space in the
[00:28:28] frequency area, right? So sometimes you want to fill up here something around 1K.
[00:28:33] And sometimes a bit lower. So the bandpass is nice because you cut
[00:28:39] lower in the way and top in the way. And then you can focus on a certain position here.
[00:28:45] Also nice to have here some pitch modulation. You can use a random
[00:29:08] modulator or you can also use here the vibrato. This one here and then you
[00:29:13] modulate basically the pitch by a certain amount. Something like this. Then we
[00:29:20] can use the mod wheel here. You can use the mod wheel and then it modulates
[00:29:24] basically the pitch.
[00:29:28] So here this vibrato gives you more or less the same frequency for the
[00:29:51] modulation of the pitch. Sometimes I really like to use the random mod,
[00:29:54] because yeah, you have random modulation for each voice. Let's go to this.
[00:30:02] Right, you can see every voice gets a different modulation.
[00:30:08] This sound is very basic. You probably heard this a thousand times
[00:30:24] in some form or the other. To make this pad sound more unique, in my opinion,
[00:30:34] the best way to do this is just to layer it with a different sound. And a lot
[00:30:38] of libraries do this or preset libraries, something like Omnisphere, it's just they
[00:30:44] use then a wave table, right, from that. The origin is basically a saw,
[00:30:49] lead, and then you have something on top. So here we put this in a layer, so I use
[00:30:55] Ctrl and G, and then we put here a sampler. And we sample something here,
[00:31:00] maybe I use an audio track. It's an input here, use my microphone, okay, and I use,
[00:31:09] what do I use? Let's look at this here. Just a bottle with some water in it.
[00:31:20] Yeah, that's okay. So we sample this, let's hit record.
[00:31:28] That's enough. That's the best I can do. And it doesn't need to be this. You can also use
[00:31:42] something like something like this, just to have something on top. Let me see,
[00:31:59] this is the bottle sound. So you put here this one into a sampler, we just drag it
[00:32:04] into the layer here, and we can center around a certain region and right click
[00:32:11] and say detect root key and it says it's A2 for some reason. Let's see how this sounds.
[00:32:16] Okay, so we want to loop this first and foremost.
[00:32:28] And then we want to use randomizer and we want to put this on hold
[00:32:38] and note for retrigger. So every time we press a key, we get the random value,
[00:32:42] and then it's hold until you release the key. And we want to modulate here the start position.
[00:32:49] Okay, so every time we play the sample, we start from a different position. And we also want to
[00:33:02] switch to the textures mode here. And if you want to pull down the speed to maybe 10%, we
[00:33:09] increase the grain size and the motion of the grains. And then we use here the second random
[00:33:15] modulator to change the speed. So every time we play the sample, we play in a different speed.
[00:33:24] And maybe we play this here one octifier for some reason. Okay.
[00:33:29] Okay, so then we have here a reverb on the synthesizer. And we don't want to do this,
[00:33:41] we want to put it actually into the instrument layer. So it's playing. So the reverb is on the
[00:33:48] synthesizer and the sample. And we just lay out this on top. Maybe reduce here the overtones from
[00:33:58] the solid. And then you can decide how much you want to have from the
[00:34:16] from the bottom bottle here. You can use multiple layers of different stuff. You can also sample
[00:34:22] piano. It's always nice to have a piano in there. That's what I do all the time.
[00:34:26] Just here, I don't know, piano tech. And we can choose, I think there's also
[00:34:36] some kind of classical guitar in here. Maybe, I don't know, warm, whatever.
[00:34:43] Right. And then we say we want to make a super massive on that. Something like this.
[00:35:01] And then we play something recorded. Maybe you just play an octave here.
[00:35:04] Something very basic. And we can just delete this here again.
[00:35:18] Go back into our recording. I put this here in another layer. And this should be also the
[00:35:29] yeah, the shop three. That's nice. And you can do basically the same thing with the before.
[00:35:34] I don't want to do that. Let's see how this sounds.
[00:35:47] Then you play on the keyboard, you just play the root, the fifth, the seventh, and so on. So very
[00:36:05] basic notes from the from the scale. So yeah, this is how you do pads. And when you just load
[00:36:14] presets from other synthesizers, what they usually do is they sample this here,
[00:36:19] what they just did the sample this and make a wave table out of it. And then you just scan
[00:36:24] through the wave table, which is yeah, this is what they do, which is also what you can do.
[00:36:30] So we can just use here the wave table instead of what I just did with the sampler on top.
[00:36:38] And then instead of a solid user ready made preset saw something whatever.
[00:36:47] I don't know what we can use here. This looks very chaotic. I don't know how this sounds.
[00:36:54] When it's too chaotic, you bring back here the sub oscillator and you play maybe a saw below it.
[00:37:06] [Music]
[00:37:10] Or maybe just a sign or actually just the reverb is missing, okay.
[00:37:23] So that's basically what most synthesizers today do. They use just the wave table and
[00:37:33] they scan through the wave table, which is just a sample or a very short sample. So
[00:37:38] usually you just play a sample. That's what you do when you play a modern synthesizer for some
[00:37:44] reason. So serum for me is just a sampler in my mind, at least I scan through a very short sample.
[00:37:53] That's basically it. So in my opinion, just sample some random stuff, put it in the sampler
[00:37:59] in Bitwig Studio and just layer things and put it through the reverb and you have nice pad sounds
[00:38:05] for in no time for no money. So why not do it? Okay, so before I finish this tutorial, because I
[00:38:14] showed you already most of the stuff. So mostly the most sounds I do are based around these techniques.
[00:38:25] So just switching around wave tables or waveforms using filters for specific things using distortion,
[00:38:34] using reverb and you can create pretty much any sound. Another thing is instead of using
[00:38:45] subtractive synthesis, I use sometimes what's the name Phase 4, which is a FM synthesizer here.
[00:38:53] So we have basically one oscillator here, one, two, three, four oscillators. And the first one
[00:39:00] is just playing a sign alone on its own. And then you take the second oscillator, which is operator
[00:39:09] in the FM world, it's called operator. It's also playing a sign. And then you take the second one
[00:39:18] and you modulate the frequency of the first one. It sounds like this. But then you use a very high
[00:39:28] ratio here. This is basically using the center frequency times two times three and so on. You
[00:39:34] take a very high one, something like this. It sounds like a bell sound. So it depends on where you go.
[00:39:45] And then you use an envelope here for the modulation like this. Maybe release.
[00:39:53] And then you can recreate these kind of typical E-piano sounds from the 90s. Maybe reverb on that.
[00:40:09] A bit of supermassive. I know the famous E-piano sound is based around multiple
[00:40:17] modulations, but here it almost sounds like it. A bit of pitch wobble. I switched the
[00:40:24] stone manual. Not too much. And then we use, that's also very important, velocity.
[00:40:37] Velocity to change how much we modulate this one, this one to this one. We can do this here in
[00:40:45] Bitwig very easy by just clicking this one. So the velocity changes the amount how much
[00:40:54] this envelope modifies this knob. Basically a second modulation. When I play slowly or
[00:41:05] don't press that hard on the keyboard, there's not much modulation. But when I press hard,
[00:41:12] I get this overtone. A little bit too much reverb.
[00:41:26] And then you knock the floor. A bit of release. Maybe more.
[00:41:52] Yeah, you get this typical E-piano sound. It's also very simple, right? You take a high ratio
[00:41:58] sine oscillator and you modify or FM the first one you get this typical sound. I think as,
[00:42:06] yeah, I made here some E-piano sound a while ago. I don't know how authentic this sounds.
[00:42:18] A bit different.
[00:42:25] So yeah, this is how we create these type of sounds. And then if you want to make, let's say,
[00:42:39] these kind of bell sounds, you need to have some odd harmonies. So you can play around
[00:42:46] you with odd ratios for this. Let's try this out.
[00:43:06] Maybe use a stereo offset.
[00:43:15] This is a six. And let's use here another one, maybe 12 or 13. And this one modulates
[00:43:25] also the first one, maybe. Gives you more like a metallic character.
[00:43:38] Also nice for what's the name, percussion sounds,
[00:43:52] lucky sounds to make this very short here.
[00:44:16] Right. So you try to find some odd harmonics. That's too metallic.
[00:44:22] And then of course distortion here in phase four, we have already overdrive.
[00:44:35] Yeah. So this is also how you can create percussions here with phase four.
[00:44:45] So these are some simple tricks to create these bread and butter sounds. In my opinion,
[00:44:52] it's super important that you notice. At least if you're an electronic music producer and you
[00:44:58] make your life way, way easier if you know how to do these kind of sounds because they're everywhere.
[00:45:04] Like I said, every preset that you can hear that sounds fancy is based around these classic ideas.
[00:45:11] And you don't need to do that much most of the times. It's just having
[00:45:15] basic wave shapes, combining them, amplitude modulation, frequency modulation, like I did
[00:45:22] here with phase four, finding the right filters, sweet spot of the frequency of the resonance
[00:45:30] using distortion before an EQ, after an EQ and stuff like this. Just thinking about harmonics
[00:45:38] and what you want to do if the sound is more harmonic or this harmonic, if you need more
[00:45:42] overtones or if you need more lower frequencies and so on. And you can build almost everything.
[00:45:48] And if you listen to music all the time, you can almost hear like, oh, this is actually a solid,
[00:45:53] right, with some texture on top. Or this is actually a rave sound with some modulation. And
[00:46:00] you know, you can find them basically these sounds and or find out how to reproduce them
[00:46:07] in your own environment and make them different. That's also something I see a lot or also a lot
[00:46:14] of beginners also myself. I had this problem too in the beginning that I hear a sound in
[00:46:20] pop song or modern production. And it sounds very good. And I want to replicate it and I don't
[00:46:28] or I can't replicate it because it's so specific, right? And I work for weeks and I try to replicate
[00:46:36] it. But it's also not important because you don't want to replicate it, you want to create your own
[00:46:41] sound, you want to create something that sounds different. Because when you recreate the sound
[00:46:47] to 100% and you put it in your production, everyone says, oh, you just sampled it. Or
[00:46:52] this sounds exactly like this producer X sound, right? And then you are also kind of depressed
[00:47:00] because people should say, oh, this is actually, this sounds like you. This is a very nice sound.
[00:47:05] I never heard this before. So you want to have something new. So it's always nice to have you
[00:47:11] hear something and then you want to replicate it. And then you try to replicate it, but it
[00:47:15] doesn't work out that well, but you find something new, something better that sounds more
[00:47:21] interesting, that's more like, or that sounds more like you, that's more unique. It's always nice to
[00:47:27] have. So anyway, maybe I don't know if this video is helpful at all. Maybe I do more of these kind
[00:47:34] of sounds, maybe I do a collection of sounds, how to make them in Bitwig quickly, quickly here,
[00:47:41] quickly. Anyway, leave me like, leave me a subscription, let me know what you think in
[00:47:48] the comments down below. That's it. See you next time. Bye.