Bitwig Studio Track From Scratch - Voltage

[00:00:00] The easiest way to make music is you just start. You don't download any new plugins,
[00:00:05] new samples or anything like this. You don't serve YouTube. You just start. Okay. And it's
[00:00:09] exactly what we do now. Go to Bitwig here. We dial in some kind of BPM, maybe 85 or 173.
[00:00:20] So feel like this. And we want to start by just using here V1 kick. So we want to make kick drum.
[00:00:29] So we start with the kick drum more or less. V1 is pretty okay. It's not the best kick drum
[00:00:37] synthesizer. And also it restarts or it doesn't re-trigger actually. When you use a new note here,
[00:00:43] it always resets the phase more or less. And it sounds a bit different on every trigger.
[00:00:48] Anyway, so we use here this here and this there. So we want to make a breakbeat. And in the FX box
[00:00:56] here, we use an FX2 multi band splitter. So we have a low end and a top end. And we make the
[00:01:02] crossover frequency at one on the thirds. The top end here, we use a filter plus device.
[00:01:08] And we use here the trend, the distortion device. We use here a push soft clipper, right?
[00:01:16] And you only want to distort the top end of the kick drum.
[00:01:24] Because I don't like how it sounds when you also distort the low end. It sounds like an,
[00:01:29] I don't know, some kind of heavy techno kick drum. It's not my thing.
[00:01:34] So like this, we enable here the loop setting. And maybe on the master, we put here a peak
[00:01:43] limiter so I don't get any angry comments. So that's okay. And we also enable here the filter and we
[00:01:55] use a high pass filter after the distortion device. Right? So we keep the low end. And what we kind of
[00:02:08] do with this is we cue out all the middle frequencies of the kick drum.
[00:02:12] So maybe we can use the push distortion also after everything after the band splitting, but not too
[00:02:33] much. Or maybe we switch back here to the transfer graph and reset this here and put this to this
[00:02:46] mode and then we push this up. Bit of saturation, not too much. And maybe a peak limiter at the end.
[00:02:55] So the center frequency here is 49 hertz. This is G zero, very short decay time.
[00:03:12] Bit of the click here is enabled and also here the low pass cutoff frequency on the kick drum.
[00:03:17] You can hear on every trigger, the kick drum sounds a bit different,
[00:03:31] which is not something you want to have in a drum bass track, but for now it's okay.
[00:03:36] Okay. So then here on the snare drum, we use something like a bit of noise. And for that,
[00:03:43] usually I just take a sampler. I don't want to go into the grid. I have a grid for that,
[00:03:49] but I want to show you how it works without the grid. And I use just here a noise sample. We can
[00:03:56] use here pink noise, white noise. It's perfect probably. And we want to create here a snare on
[00:04:03] 1.2 and 1.4. Very short decay times.
[00:04:10] And we use the filter for that maybe here. High pass filter, four pole.
[00:04:30] So the benefit of using here a noise sample is that you have every time you trigger this,
[00:04:35] you have the same noise sample. It doesn't change in tone. Sometimes it's great when
[00:04:40] it changes all the time. So it's a bit dynamic. Also with the kick drum, the same thing, but
[00:04:45] you want to keep it static here. We sample this later on. So we just have it here dynamic,
[00:04:51] but then later on we just resample it and use it inside of the sampler.
[00:04:57] So this is here the snare drum. So we want to add a bit of body. So we can use the snare
[00:05:02] V1, version 1 device here of Bitwig Studio and just add a bit of, you know, of body.
[00:05:13] Here we can introduce a bit of attack time on the noise layer.
[00:05:25] So we can change the loudness of the noise layer just a bit.
[00:05:50] And then we use an EQ here on the sum. There's an EQ 5. Just remove all the low end.
[00:06:04] Too much noise.
[00:06:20] Or we can actually pitch here the noise.
[00:06:22] Doesn't change too much because it's the same in every pitch. Sometimes
[00:06:31] we can hear down sampling or the artifacts there sometimes.
[00:06:50] Okay. So at the end here we have an EQ 5, like I said, and then we all push this into a clipper,
[00:06:57] a hard clipper, a use just over.
[00:07:05] So we try to find a nice frequency for the body of the snare drum, but for now it's okay. I don't
[00:07:19] want to fiddle around here for hours, but usually the snare, you know, the snare aesthetics and
[00:07:25] the kick drum aesthetics, it takes a bit of time until I'm happy, but for now I think it's okay.
[00:07:31] You probably also want to layer something on top here, maybe an acoustic
[00:07:44] drum sample or whatever. Do we have some samples here? Let's see.
[00:07:48] These are my very old snare drums from 2015.
[00:08:00] There's something like this, I don't know. So we can use the snare sample on top,
[00:08:09] maybe high pass here just to leave room for the body.
[00:08:35] So you have a bit of texture on top that's not just white noise and a sine oscillator,
[00:08:41] right? So you need a bit of dirt on that. So yeah, that's that.
[00:08:45] We can also create just some hi-hats and have a hi-hat generator. Do I have one?
[00:08:55] Hi-hat generator, yeah, this one here. And this is also just noise and a bunch of envelopes.
[00:09:05] The big trick is here that I use the convolution device with a lot of different impulse responses
[00:09:12] from different hi-hats I sampled. And then I use here the randomizing feature or randomize
[00:09:18] modulator output here to mix multiple impulse responses together. So when you click here
[00:09:27] randomize, you have sometimes a bit of this impulse response, sometimes a bit of that, right?
[00:09:33] So you mix different things together and you get always a different hi-hat sound.
[00:09:38] Kind of a, let's try to have a different approach here.
[00:09:51] All right, so we have this hi-hat sound here.
[00:10:00] I can also duplicate this here and do something here.
[00:10:15] The ghost notes.
[00:10:23] You can also do this with the snare and call it ghosts.
[00:10:41] Then you can use the same pattern from the hi-hat.
[00:10:46] Right, this is way too loud.
[00:10:57] Maybe you make here the envelope a bit shorter for the ghost notes.
[00:11:07] Okay, so now we can try to sample all of this.
[00:11:18] The problem is when I hit bounce here, I get completely different hi-hats because the grid
[00:11:23] then resets and gives me a bunch of new values. Also, when I put this here into group and use
[00:11:30] now control and G, I get completely different hi-hats because then also the grid reboots or
[00:11:36] reloads and I get different new values here. So the hi-hat sounds completely different.
[00:11:41] So the only way to persist is what I hear here is just to use an audio channel and just record
[00:11:49] here all the output from this, right? So I do something like this here.
[00:11:54] And then we can also sample the other output, this one here.
[00:12:05] And so now we have this kind of persisted here.
[00:12:11] Hats one and heads two. And then we can just delete the generators. I don't need it anyway.
[00:12:21] Right, so we have new hi-hats generated out of nothing.
[00:12:26] Nice. So we can also do the same with the kick drum.
[00:12:34] But for now I just leave it at this. Maybe I want to tweak it later on a bit more,
[00:12:39] but at some point I can just sample it.
[00:12:50] And maybe I pitch it a bit up here.
[00:13:02] Ah, that's okay.
[00:13:12] Cool. So this is the snare. I probably sample this later on also.
[00:13:20] So now to make this a bit even more textured we can do,
[00:13:28] we can create some loops on top here. I use most of the time something from Ghost Syndicate here,
[00:13:38] some samples. Let me search for some drum loops in here, of course.
[00:13:54] I listen most of the times just for the top end, the kick drum and the snare is not interesting to me.
[00:13:59] Right, something like this. There are nice shakers in there. So I can just take this
[00:14:07] and put this in here. So this is 1 and 74 BPM. So I can change this here to Slice 1 and 74.
[00:14:15] So we get this together. And usually back in the day I just
[00:14:30] EQ'd everything out here I don't need. So I use here an EQ5
[00:14:33] and just remove everything in the low end. Sounds like this.
[00:14:42] Right.
[00:14:46] But nowadays I really like to use the spectral compressor because this thing is really fast.
[00:14:59] So I use here the sidechain input and I want to use kick snare higher. So maybe I put this here
[00:15:07] into group and call it synth drums, so synthetic drums.
[00:15:12] And then I can use this here as a sidechain input, synth drums.
[00:15:19] Switch this here to sidechain compression. And then everything that's here in my synthetic loop,
[00:15:26] right, the kick and the snare and the hi-hat and so on, is EQ'd out in this drum loop.
[00:15:32] So it just takes the frequencies out. So for that I have zero attack here, very fast release time.
[00:16:01] So with this we can just bounce it post-fader, maybe in place.
[00:16:07] You can see it looks completely different, right, because there's a low cut on there and
[00:16:13] everything else. And we call it rakes, for instance.
[00:16:25] And we clip together and say, these are the drums.
[00:16:28] And just make it quick and we use a clipper here on the drum bus.
[00:16:36] We can also use an FX3 OTT splitter, which is just a splitter here at the crossover
[00:16:50] frequencies from the OTT. So it's 88.3, 2.5 kHz, right? This is how it is usually.
[00:16:58] And then you put some dynamics in there, devices, this one here. Okay, delete this.
[00:17:09] So now no reduction here. So we have a lower threshold and an upper threshold here.
[00:17:20] And then we can just compress and upwards compress.
[00:17:26] Not too much.
[00:17:32] Attack time, very fast, very fast release.
[00:17:47] Yeah, we don't want to over compress this, just to control here a bit the frequencies.
[00:18:16] Yeah, that's that.
[00:18:17] Okay, so these are the drums, we can just clone this here, make four bars.
[00:18:30] It's actually not four bars. Oh, it's four bars here. Four bars out of it.
[00:18:35] So what we want to do then is we want to make a nice interesting base. We can do this in multiple
[00:18:42] ways. Last time I used something like a feedback for that, which was really nice feedback system.
[00:18:52] I made a video about this feedback system B. Let's use this one here. So all it does is basically
[00:19:00] it uses here noise going into a delay and then into a phaser, low pass, high pass, a bit of
[00:19:08] chappy cheff, distortion, wave folder, chorus and so on, filter and then goes back into the input.
[00:19:15] And then I have here an auto gain. So it keeps the volume at the same level. So the feedback never
[00:19:21] goes away and also never exceeds and gets louder and louder, right? So it keeps the level at a static
[00:19:27] pace or a static level. And this gives you a lot of very dissonant sounds.
[00:19:37] So I feel like this.
[00:20:06] So yeah, with this we just sample this more or less. Oh, that's actually a pad sound.
[00:20:13] So we can sample this and I usually just use here the rolling sampler for that.
[00:20:22] So we just get something out of that.
[00:20:25] Maybe play around here a bit.
[00:20:29] So.
[00:20:41] So that's something we can use, of course, inside of the sampler. So we put this in a sampler.
[00:21:08] Let me just remove this here. Let's see. We have here some longer sounds. We can maybe try and
[00:21:16] match to a pitch. Let's see all the sounds.
[00:21:32] All right, so we have this. So try to use your bass frequency with this.
[00:21:47] And we can use MPE. That's not MPE. This is MPE.
[00:22:01] Like a nice band.
[00:22:14] So.
[00:22:28] Okay, so maybe you can lay out this now with a polymer.
[00:22:48] Let's see how this is fitting together. Don't need any of this. We also want to have a monophonic.
[00:22:58] And we want to have an ADSR. So we have a sustained.
[00:23:02] And we make out of this here some kind of rease sound.
[00:23:12] Tool device.
[00:23:15] And this is a notch filter.
[00:23:24] Nice one octave lower.
[00:23:42] Maybe a high pass on that.
[00:23:50] Maybe we remove here the fundamental and replace this with a sine one octave lower.
[00:24:18] So we make here this pattern a bit longer.
[00:24:34] Okay, so I want to have this thing here.
[00:24:43] Also moving. So I just hit here the automation with my hotkey. Right. Put this on.
[00:24:49] And then I maybe just copy this here.
[00:25:09] And maybe you can also automate this.
[00:25:20] Then we can copy this over here. And maybe I use here an octave lower, the note an octave lower.
[00:25:35] Okay, so now this doesn't fit anymore. Okay.
[00:25:50] So maybe you can put a reverb on that just for fun.
[00:25:59] It was super massive. We don't need the low end warp. Not too much of delay.
[00:26:04] And then we have the mix at zero at the beginning and we record here again automation.
[00:26:14] We have a reverb at the end here.
[00:26:28] So then we put a filter plus device on everything.
[00:26:32] And we use here this nice transfer curve again. Push a bit of saturation.
[00:26:38] Again a filter.
[00:26:46] And then we can also automate this here maybe.
[00:26:57] Not too good.
[00:27:09] Oh yeah, I need to remove this here.
[00:27:22] And maybe an EQ before that. So we push everything through one EQ.
[00:27:33] Okay, we can automate this too.
[00:27:41] So.
[00:27:53] Nice. We can also put an EQ on the re-space line only.
[00:28:20] EQ 5 and do the same thing.
[00:28:33] Let's see how the sound is going to flow again.
[00:28:53] No, it's not that good.
[00:29:01] Okay, the peak limiter on that.
[00:29:06] So this we want to have maybe two dB quieter and we want to have also your spectral.
[00:29:30] Spectral compressor on that.
[00:29:31] And we want to use this for the sidechain drums, drums master, drums master post.
[00:29:39] Sidechain compression, very fast release.
[00:29:46] Okay, so now we can experiment and see if we can find here maybe a different - oh,
[00:30:06] that's too much - maybe find a different, better place inside of the sampler.
[00:30:14] Okay.
[00:30:26] So.
[00:30:39] Okay, that's okay. And here it sounds a bit different.
[00:31:06] Okay, and then we can maybe use another polymer and then just do something different here at the end.
[00:31:18] It starts here.
[00:31:26] Then what's the - oh, it's the sharp. Okay, sorry, sorry. I want to use something different.
[00:31:35] Again, res, we want to have monophonic.
[00:31:41] Don't need this. We need an ADSR.
[00:31:47] We want to have here a bit of the tuning.
[00:31:52] We make it mono again.
[00:32:03] Okay, let's loop this here for a moment.
[00:32:04] And use here pitch rendering.
[00:32:09] Let's go down 12 semitones.
[00:32:14] Let's use XP and dodge.
[00:32:24] Let's record it here with automation, right?
[00:32:34] Nice, and also in EQ, Q5.
[00:32:51] That's okay. Filter + with a bit of saturation again.
[00:32:55] And then we can go down here with the automation.
[00:33:04] And maybe volume automation. I don't know. Might be an LFO here. LFO, classic.
[00:33:21] No tree trigger, but we use here no timing. We want to have kind of off timing.
[00:33:28] And then we go down.
[00:33:39] Yeah, we can bring this down too nice.
[00:33:55] Something like this. I don't know.
[00:33:59] [Music]
[00:34:09] So maybe the rate is a bit too... Oh, it doesn't show me the rate here for some reason.
[00:34:15] The rate starts too much.
[00:34:27] Okay, so this is the first... I don't know.
[00:34:45] And here we do another trick, because people like to have different sounds.
[00:34:50] So make some slight adjustments. It's the same sound, but it's slightly different.
[00:35:03] Does this here band frequency? Yeah, that's okay. Maybe go up this time.
[00:35:09] There's the rate. Yeah, that's the rate.
[00:35:28] [Music]
[00:35:36] So different sound, but kind of the same sound.
[00:35:40] [Music]
[00:35:48] So okay, so we can loop this four times.
[00:35:50] Eight times.
[00:35:56] Let me do here another trick.
[00:35:58] [Music]
[00:36:05] So maybe you can find another trick for that. I don't know, polymer.
[00:36:10] You can actually use the same clip like that.
[00:36:16] Let's see.
[00:36:19] Yeah, we use Adios. Oh, actually this doesn't sound too bad.
[00:36:25] [Music]
[00:36:30] Yeah, we do. Yeah, maybe repetition.
[00:36:33] [Music]
[00:36:38] And we need some kind of pitch envelope. So we use here the basic pitch envelope,
[00:36:43] or we also need to go to monophonic. We don't need this one here.
[00:36:47] So we put this on the pitch.
[00:36:50] [Music]
[00:36:55] And maybe go up 12 semitones.
[00:36:57] [Music]
[00:36:59] And a bit of noise.
[00:37:00] [Music]
[00:37:08] Restart.
[00:37:09] [Music]
[00:37:17] Oh, we use here the ring, the ring mod device, and I've already, no, I don't have
[00:37:24] already this in here. So we use a noise sample in there. So we use test tone,
[00:37:28] test tone, white noise, bring in the noise, eq5s. We can eq out here all the low end.
[00:37:39] [Music]
[00:37:53] Just to have a bit of, you know, noise on top.
[00:37:56] [Music]
[00:38:14] It is sometimes what my neighbors hear for hours, right?
[00:38:16] [Music]
[00:38:18] Something like this.
[00:38:18] [Music]
[00:38:26] So we do this here, and here we do
[00:38:28] another trick.
[00:38:32] Damn.
[00:38:34] What's this? Three?
[00:38:37] [Music]
[00:38:43] I don't know how this sounds. Let's see.
[00:38:44] [Music]
[00:38:59] Maybe we can bring this a bit better out here with an eq.
[00:39:03] And distortion, of course.
[00:39:08] [Music]
[00:39:18] [Music]
[00:39:28] [Music]
[00:39:38] [Music]
[00:39:59] So I have no idea how this sounds mixing wise. I have no idea. I don't care. I just go for the
[00:40:04] groove. And if I, you know, if I like it or it's my style, I don't care so much for if
[00:40:12] everything is in the right spot. I can do this later on.
[00:40:15] I just want to pin down my style, my groove, my what I want to do.
[00:40:24] So I put this here also into a group called it base group.
[00:40:28] And there's here the spectral compressor on it.
[00:40:31] Now put this on the on the group so I can duck all the frequencies on the base bus.
[00:40:37] I can remove this here.
[00:40:39] Yeah, kind of cool.
[00:40:44] Probably later on, I bounced this also here to have it as in audio.
[00:40:48] [Music]
[00:40:59] Yeah, zero db. And then put this down to minus two.
[00:41:03] [Music]
[00:41:23] Drop base. Probably not the best thing here, but what I did in the moment.
[00:41:29] I just leave it in there. I'll probably do some a bunch of more of these sounds later on and then
[00:41:34] see if I can replace something or find something better.
[00:41:37] Okay, so this is the base. We also want to add maybe some
[00:41:45] some very basic stuff like like writes. I have here an XO most of the times ready.
[00:41:56] We have already here some only writes in there.
[00:42:01] And then I can just replace it or use here randomize, right?
[00:42:06] And I have only different write sounds.
[00:42:08] Let's keep that. I can delete this.
[00:42:13] Oh, this is still
[00:42:22] this.
[00:42:24] So I have a nice write here, maybe a different velocity setting.
[00:42:32] Write. Write, write.
[00:42:38] [Music]
[00:43:06] So this is maybe one write I want to keep.
[00:43:08] So I bounce this
[00:43:09] something like this here. Maybe I want to have something different.
[00:43:20] Well, it's out of out of sync. I have this all the time and I bounce some VSTs.
[00:43:30] The whole thing gets off the rails for some reason.
[00:43:35] Now it fits again. I have to do this all the time and I bounce for some reason.
[00:43:40] I have no idea what kind of bug this is.
[00:43:42] [Music]
[00:43:56] Oh, do I have some shakers? Maybe I can use some shakers in here.
[00:44:00] [Music]
[00:44:17] [Music]
[00:44:32] Should be, this should be okay.
[00:44:34] [Music]
[00:44:51] Oh, there's a pattern in here. Okay.
[00:44:55] [Music]
[00:45:23] So now we can try and replace this here with randomized samples.
[00:45:27] [Music]
[00:45:51] [Music]
[00:46:07] Maybe I can cut here some stuff.
[00:46:10] I want to really just fill out some some stuff on the top end.
[00:46:16] [Music]
[00:46:27] Let's see how this sounds when we put this here into the drum group.
[00:46:30] [Music]
[00:46:39] Okay, let's tune the snare a bit better.
[00:46:41] [Music]
[00:47:08] Okay, maybe we can make this a bit longer here.
[00:47:11] Because it switches too fast.
[00:47:13] Move this over here, makes it a bit longer.
[00:47:19] Then we can duplicate this.
[00:47:21] Then we have already almost a minute.
[00:47:25] [Music]
[00:47:36] Okay, then we can take maybe this sampler here
[00:47:40] and use it on a different track.
[00:47:42] [Music]
[00:47:46] And then we use this note here.
[00:47:51] Maybe just an octave higher.
[00:47:54] [Music]
[00:47:58] And then we use a different reverb.
[00:48:01] [Music]
[00:48:09] Or maybe an octave lower.
[00:48:10] [Music]
[00:48:30] Okay, I try to use distortion.
[00:48:32] [Music]
[00:48:42] [Music]
[00:48:52] [Music]
[00:49:00] [Music]
[00:49:10] [Music]
[00:49:20] [Music]
[00:49:30] [Music]
[00:49:40] [Music]
[00:49:50] [Music]
[00:50:00] [Music]
[00:50:10] [Music]
[00:50:20] [Music]
[00:50:30] [Music]
[00:50:40] [Music]
[00:50:50] [Music]
[00:51:00] [Music]
[00:51:10] [Music]
[00:51:20] Okay, so these sounds are kind of me, but I bounce it anyway.
[00:51:24] [Music]
[00:51:28] I can use it here and maybe reverse there.
[00:51:30] [Music]
[00:51:32] I don't know really.
[00:51:34] Let's try something different.
[00:51:36] Maybe you can get some pad sounds here out.
[00:51:38] [Music]
[00:52:02] We use an EQ to EQ all the shit out.
[00:52:06] [Music]
[00:52:16] [Music]
[00:52:26] [Music]
[00:52:42] Yeah, here maybe.
[00:52:44] [Music]
[00:52:48] Maybe a bit higher.
[00:52:50] [Music]
[00:53:12] I bounce this.
[00:53:14] [Music]
[00:53:16] I have some sounds to play with.
[00:53:18] I don't know if I keep this until the end,
[00:53:20] but I should just try and figure out what's fitting
[00:53:24] and what doesn't fit and how to play around with this.
[00:53:28] [Music]
[00:53:38] Maybe more reverb on that.
[00:53:40] [Music]
[00:54:06] What is this here? Is this D# something?
[00:54:10] What does it say? E, E5.
[00:54:12] Okay, that's close to D#5.
[00:54:16] [Music]
[00:54:24] So we can bounce this again.
[00:54:26] [Music]
[00:54:30] In place.
[00:54:32] [Music]
[00:54:42] Okay, then we can start and maybe move this over here
[00:54:46] because this is the intro.
[00:54:48] And I want to create some pad sounds.
[00:54:52] [Music]
[00:54:54] The Polymer BAM.
[00:54:56] [Music]
[00:54:58] And we are kind of on D#
[00:55:02] [Music]
[00:55:04] for some magical reason.
[00:55:06] [Music]
[00:55:08] ADSR.
[00:55:10] Slow attack, slow release.
[00:55:12] [Music]
[00:55:14] [Music]
[00:55:16] Detuning.
[00:55:18] [Music]
[00:55:20] [Music]
[00:55:22] [Music]
[00:55:24] [Music]
[00:55:26] [Music]
[00:55:28] [Music]
[00:55:30] [Music]
[00:55:32] [Music]
[00:55:34] [Music]
[00:55:36] Okay.
[00:55:38] [Music]
[00:55:40] [Music]
[00:55:42] [Music]
[00:55:44] [Music]
[00:55:46] [Music]
[00:55:48] [Music]
[00:55:50] And then again, eqing out all the eq files.
[00:55:54] [Music]
[00:55:58] [Music]
[00:56:22] [Music]
[00:56:24] Then we make this long.
[00:56:26] [Music]
[00:56:30] And then we maybe bring back,
[00:56:32] what's the feedback system?
[00:56:34] Feedback A.
[00:56:36] Feedback B.
[00:56:38] This one.
[00:56:40] And we can use here,
[00:56:42] what's the name Chroma?
[00:56:44] Maybe Pitchmap.
[00:56:46] [Music]
[00:56:48] I haven't used Pitchmap in a while.
[00:56:50] [Music]
[00:56:52] Pitchmap.
[00:56:54] Use E.
[00:56:56] D sharp.
[00:56:58] [Music]
[00:57:00] What's the name?
[00:57:02] Phrygian.
[00:57:04] [Music]
[00:57:06] And let's see all the sounds.
[00:57:08] [Music]
[00:57:10] [Music]
[00:57:12] [Music]
[00:57:14] [Music]
[00:57:16] [Music]
[00:57:18] [Music]
[00:57:28] [Music]
[00:57:30] Okay, maybe an octave lower.
[00:57:32] [Music]
[00:57:54] Yeah, let's, let's bound some random stuff here.
[00:57:58] I don't care. Bounds.
[00:58:00] In place.
[00:58:02] So we get some
[00:58:04] very dissonant stuff here.
[00:58:06] Through the Pitchmap so we are
[00:58:08] on the scale or
[00:58:10] kind of in the scale
[00:58:12] of D sharp Phrygian.
[00:58:14] [Music]
[00:58:16] [Music]
[00:58:18] It starts a bit late.
[00:58:20] [Music]
[00:58:22] [Music]
[00:58:24] [Music]
[00:58:26] [Music]
[00:58:28] [Music]
[00:58:30] [Music]
[00:58:32] [Music]
[00:58:34] [Music]
[00:58:36] [Music]
[00:58:38] [Music]
[00:58:40] I probably want to have some drums and intro at some point here.
[00:58:42] [Music]
[00:58:44] [Music]
[00:58:46] [Music]
[00:58:48] [Music]
[00:58:50] [Music]
[00:58:52] Not sure if I want to keep it this way but
[00:58:54] [Music]
[00:58:56] EQ 5 maybe.
[00:58:58] [Music]
[00:59:00] [Music]
[00:59:02] [Music]
[00:59:04] [Music]
[00:59:06] [Music]
[00:59:08] [Music]
[00:59:10] [Music]
[00:59:12] [Music]
[00:59:14] [Music]
[00:59:16] [Music]
[00:59:18] [Music]
[00:59:20] Maybe keep it this way.
[00:59:22] Mount.
[00:59:24] No, that's not the amount.
[00:59:26] This is the amount.
[00:59:28] [Music]
[00:59:30] [Music]
[00:59:32] [Music]
[00:59:34] You know, I just roughly put everything
[00:59:36] in place.
[00:59:38] [Music]
[00:59:40] [Music]
[00:59:42] All the pad is actually missing so we
[00:59:44] just bounce it out.
[00:59:46] I probably never change anything.
[00:59:48] [Music]
[00:59:50] [Music]
[00:59:52] [Music]
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[01:00:02] [Music]
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[01:00:10] [Music]
[01:00:12] [Music]
[01:00:14] [Music]
[01:00:16] [Music]
[01:00:18] Yeah, this bass over
[01:00:20] Portonia is the problem is it's a bit too wide or at least on the left side something happened
[01:00:27] That's not happening on the right side. So we make it a bit more mono
[01:00:30] Music
[01:00:33] Music
[01:00:35] Music
[01:01:02] Oh we can use this maybe in the intro. Let's put it there just just to have something there
[01:01:11] Music
[01:01:17] Yeah we put some a crash sound it's always good. I have also an XO for crash sounds
[01:01:29] I use the stair
[01:01:31] and reverb
[01:01:41] more high pass
[01:01:56] and maybe peak limiter
[01:02:00] Music
[01:02:02] I'm gonna pitch it down a bit more
[01:02:10] Music
[01:02:12] Oh it's this one here
[01:02:15] Music
[01:02:23] So this is a crash sound
[01:02:26] I keep it empty
[01:02:36] Put this here
[01:02:43] Put this there
[01:02:45] Music
[01:02:47] Oh yeah I need to restart my engine
[01:02:50] Music
[01:02:52] So now we put your the bass and drums into one group I do this all the time not sure if this is the best you can do
[01:03:11] But kind of works for me
[01:03:15] So what we can do now is it use a curfew queue or match a queue or whatever you want to call it
[01:03:22] Music
[01:03:24] Music
[01:03:26] Music
[01:03:54] It's not really needed to use a match a queue but sometimes it's just a quick fix for me
[01:04:00] So I use predefined I use just white noise or pink noise which looks like this
[01:04:08] And I put this on let's start with drums first here
[01:04:13] Put this on the drums only on the drums just measure it here for a while with average
[01:04:20] Music
[01:04:22] Music
[01:04:24] You can see it roughly already lines up here with the pink noise curve my drums
[01:04:31] So we can take here this thing I'm gonna say I want to apply the reference which is pink noise to that
[01:04:39] With 10 points 10 EQ points and then you can match spectrum and get this weird curve which is not what I want
[01:04:46] But I can slowly dial it in here
[01:04:50] But I don't know 30% maybe too much
[01:04:54] Music
[01:04:56] And we do the same thing here with the curves thing on the drum bass bus
[01:05:18] But anyway it's not really need but do it sometimes just to have some something quick pink noise
[01:05:27] Average
[01:05:30] Music
[01:05:47] Music
[01:05:49] So maybe a bit of saturation there just not too much
[01:06:13] Music
[01:06:15] Music
[01:06:17] Music
[01:06:19] Music
[01:06:21] Music
[01:06:23] Music
[01:06:25] Music
[01:06:27] Music
[01:06:29] Music
[01:06:31] Music
[01:06:59] So this is how I do it
[01:07:01] Music
[01:07:03] Music
[01:07:19] Music
[01:07:21] I need to save it probably
[01:07:34] Music
[01:07:36] Music
[01:07:38] Music
[01:07:40] Music
[01:07:42] Music
[01:07:44] Music
[01:07:46] Music
[01:07:48] Music
[01:07:50] Music
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[01:07:54] Music
[01:07:56] Music
[01:07:58] Music
[01:08:00] Music
[01:08:02] Music
[01:08:04] Music
[01:08:06] Music
[01:08:08] Music
[01:08:10] Music
[01:08:12] Music
[01:08:16] Music
[01:08:44] Music
[01:08:46] Music
[01:09:12] Music
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[01:09:36] Music
[01:09:38] Music
[01:10:02] Music
[01:10:04] Music
[01:10:06] Music
[01:10:10] Maybe a bit better
[01:10:12] Music
[01:10:22] Maybe use the mook filter here
[01:10:24] Music
[01:10:26] Music
[01:10:28] Music
[01:10:30] Music
[01:10:32] Music
[01:10:34] Music
[01:10:36] So kinda nice, I kinda like it more
[01:10:38] Maybe because it's just different
[01:10:42] Here we do something similar
[01:10:44] But different
[01:10:46] Music
[01:10:48] LFO setting
[01:10:50] Music
[01:11:02] Or we try and modulate this here
[01:11:06] Again
[01:11:08] Music
[01:11:10] Music
[01:11:34] Music
[01:12:00] Something like this
[01:12:02] And then we have this only here
[01:12:04] On this clip of course
[01:12:06] Just duplicate this
[01:12:08] That's why I have this open
[01:12:10] My
[01:12:12] Automation always open
[01:12:14] Because I made this video right
[01:12:16] Because I don't like it how it is
[01:12:18] In Bitwig 6 but it changed it
[01:12:20] So now I can do this also in Bitwig 6
[01:12:22] Which makes me happy
[01:12:24] Music
[01:12:30] So also interesting
[01:12:32] We can now bounce this here
[01:12:34] Music
[01:12:38] Again
[01:12:40] We can influence how this sounds here
[01:12:42] Music
[01:12:44] We can cut the bass out
[01:12:46] Music
[01:12:48] Music
[01:12:50] Music
[01:12:52] Work with the ring verb again
[01:12:54] Music
[01:12:56] Music
[01:12:58] Music
[01:13:08] Music
[01:13:18] Music
[01:13:28] Music
[01:13:30] So just something on top makes the bass
[01:13:32] A bit fatter and also wider
[01:13:34] Because everything is in a
[01:13:36] Top end here right
[01:13:38] So without just putting a lot of distortion on the bass
[01:13:40] And creating overtones with this
[01:13:42] Music
[01:13:44] We probably also can offset this here
[01:13:46] To see how this sounds
[01:13:48] Music
[01:13:56] Music
[01:14:06] Music
[01:14:14] Music
[01:14:20] Yeah kind of nice
[01:14:22] Let me see if I can
[01:14:24] Recreate the sound
[01:14:26] With another Polymer
[01:14:28] Put this in here
[01:14:30] We use the same note
[01:14:32] With the
[01:14:34] Pitch MPE
[01:14:36] Band here
[01:14:38] And we use also saw
[01:14:40] Music
[01:14:50] And I play this one of the
[01:14:52] Music
[01:15:00] Music
[01:15:04] Okay band pass
[01:15:06] Music
[01:15:08] Let's say record
[01:15:10] Music
[01:15:22] And
[01:15:24] We drop on that
[01:15:26] Music
[01:15:28] Not too much
[01:15:30] Music
[01:15:36] And also an EQ5
[01:15:38] Can modulate this much better
[01:15:40] Music
[01:15:58] And then a filter
[01:16:00] Music
[01:16:20] Nice
[01:16:22] And probably on the background
[01:16:26] Music
[01:16:36] Let's see how this sounds
[01:16:38] In combination with the other sound
[01:16:40] Music
[01:17:00] Music
[01:17:10] Okay let's tune it
[01:17:12] Music
[01:17:14] That's too wide
[01:17:16] Music
[01:17:36] Music
[01:17:48] Okay so here we make a break
[01:17:50] Music
[01:18:06] Probably should save this
[01:18:08] Music
[01:18:14] This thing on here
[01:18:16] Drum with bass
[01:18:18] Music
[01:18:20] What's the track from scratch
[01:18:22] Music
[01:18:24] Yeah I use this
[01:18:26] Music
[01:18:28] How do we call it
[01:18:30] Music
[01:18:34] Good vocal
[01:18:36] Music
[01:18:40] Music
[01:18:56] So yeah we probably want to do the same thing as we did here
[01:19:00] With these sounds
[01:19:02] Let's see how the sounds may put this together
[01:19:06] Music
[01:19:10] Oh yeah this doesn't
[01:19:12] It's a different modulation
[01:19:16] Music
[01:19:44] Music
[01:19:48] Music
[01:19:50] Yeah and then you put a lot of details in it
[01:19:52] I want to stop here because
[01:19:54] It's probably already one hour
[01:19:56] In 20 minutes holy shit
[01:19:58] So yeah
[01:20:00] You put a lot of details in
[01:20:02] And just what I did here
[01:20:04] Creating iterations
[01:20:06] Small changes
[01:20:08] And then you
[01:20:10] Make it more interesting
[01:20:12] To keep the spirit
[01:20:14] Of the initial groove
[01:20:16] Alive more or less
[01:20:18] So you support the groove
[01:20:20] You add some things
[01:20:22] But you never subtract from the groove
[01:20:24] And then at the end
[01:20:26] You probably master it or mix it a bit better
[01:20:28] And maybe make some small adjustments
[01:20:30] To the snare drum to the kick drum
[01:20:32] Also here the kick drum
[01:20:34] Would sample this here
[01:20:36] Put maybe just a
[01:20:38] Rolling sampler
[01:20:40] That's how I do it lately
[01:20:42] Just put this on, play it
[01:20:44] Music
[01:20:46] Then you have here a kick drum
[01:20:48] Music
[01:20:50] I feel like this
[01:20:52] And then you just
[01:20:54] Use a sampler here
[01:20:56] Drag it in
[01:20:58] Music
[01:21:00] No pitch map
[01:21:02] Or pitch track
[01:21:04] You can make this
[01:21:06] Monophonic
[01:21:08] You can disable this
[01:21:10] They have the same outcome
[01:21:12] Music
[01:21:14] Music
[01:21:16] Music
[01:21:18] Then you do the same with the snare
[01:21:20] And so on
[01:21:22] That's how I do it mostly
[01:21:24] So I keep the kick drum and the snare
[01:21:26] And some of the sounds
[01:21:28] I won't change maybe later on
[01:21:30] I keep dynamic
[01:21:32] But at some point later on
[01:21:34] Then I sample it so it's more static
[01:21:36] And I keep our original chain alive
[01:21:38] So I can maybe go back
[01:21:40] And resample it or whatever
[01:21:42] But usually I never do it
[01:21:44] I just keep it
[01:21:46] In the sampler here
[01:21:48] And make some tweaks with an EQ
[01:21:50] So this is how I do it
[01:21:52] I put this on my Patreon here in this state
[01:21:54] If you want to change it
[01:21:56] Or if you want to continue on that
[01:21:58] But usually
[01:22:00] All the things that follow
[01:22:02] Until now is very boring to watch
[01:22:04] Because I just listen to this multiple times
[01:22:06] And
[01:22:08] I make some sound designs here and there
[01:22:10] Add some small little changes
[01:22:12] So what I just did here with the bass
[01:22:14] Something like this
[01:22:16] And then I listen to it
[01:22:18] And maybe I remove some sounds
[01:22:20] Make some new sounds until I'm happy
[01:22:22] And then I mix it down better
[01:22:24] Master it and then I upload to Bandcamp
[01:22:26] This is my process
[01:22:28] Usually
[01:22:30] I hope you liked it so far
[01:22:32] That's it for this video
[01:22:34] Thanks for watching
[01:22:36] Leave a like, let me know what you think
[01:22:38] Sometimes I think
[01:22:42] It would be better to just make the videos longer
[01:22:44] And upload maybe 3 hours
[01:22:46] But I don't think most people will watch it
[01:22:48] And it's not that much
[01:22:50] New knowledge happening there
[01:22:52] It's just
[01:22:54] Work
[01:22:56] It's just putting in work
[01:22:58] Making adjustments, put stuff here
[01:23:00] Make some
[01:23:02] Decisions based on taste
[01:23:04] And that's it
[01:23:06] Nothing more happens there
[01:23:08] Anyway, let me know what you think
[01:23:10] In the comments down below
[01:23:12] See you next time, thanks for watching, bye
[01:23:14] [BLANK_AUDIO]