Making Ambient / Chill-Out in Bitwig Studio 6 Beta 12 from Scratch

[00:00:00] Okay, so I need a new video on my channel. That's the
[00:00:03] That's the mission for today. So I thought we just do some music in bitwig studio 6 currently beta 12 still in beta
[00:00:10] I think it still needs some time, but they also implemented some nice things in beta 12, which is the automation
[00:00:17] It's a lot quicker now
[00:00:18] They reduced kind of the smoothing and you can use now the automation for shaping sounds much much better
[00:00:25] Maybe I should show you this later. Anyway, so I want to do music in bitwig studio 6
[00:00:30] And I want to create a lot of sounds from scratch. Maybe I use some sounds for the hi-hat samples or use samples for hi-hats
[00:00:38] I don't know
[00:00:39] So yeah, I want to start here maybe by recording my voice
[00:00:42] and I use here my
[00:00:45] microphone
[00:00:47] That you can hear at the moment. This is the microphone and I want to record my voice. So I'm using
[00:00:55] Let me see I use the rolling sampler
[00:00:59] to record sounds and
[00:01:02] I want to use the loud split so I can reduce here or remove all the noise and
[00:01:07] I want to use maybe
[00:01:11] My auto level so I can bring all the sounds to an equal level here, right? You can see it's now much much louder
[00:01:22] With the threshold nice
[00:01:24] Maybe but you're not too much here something like this. Yeah, that's better
[00:01:30] Maybe I use here. What's the name auto pitch from elder?
[00:01:35] This one, maybe I use you see
[00:01:40] It was a minor or C major. It doesn't really matter
[00:01:45] Maybe you see minor
[00:01:49] Yeah, that's better
[00:01:51] And then record some vocal vocals at least that's that's the idea. It's actually a bit distorted here
[00:01:58] Maybe I go down. Hello. Hello. Hello test one two three
[00:02:02] Get to the job
[00:02:04] I
[00:02:10] Mean it's perfect, right?
[00:02:12] So we just take this here and put this into the sampler
[00:02:18] Maybe we use this later on here so I disabled this
[00:02:21] Called recording or something like that. So we have this here in the sampler. Let's see how the sounds
[00:02:30] Oh, I almost hit the note right there
[00:02:44] Well, it's a little bit. I know freaking out. Yeah, but it's okay
[00:02:49] Let's detect a wood key. It's g3 for some reason
[00:02:52] Okay
[00:02:56] On the master we put your peak limiter. So no one is going to kill me in the comments
[00:03:01] Um
[00:03:03] And then you put some reverb on it, right? Why not super massive?
[00:03:07] I want to make it super massive
[00:03:10] Maybe I use the bandpass here with the key tracking on 100
[00:03:16] percent
[00:03:18] And this on the root frequency c3 and a bit of resonance
[00:03:22] And you want to loop it probably
[00:03:28] The last part here and a bit of fading
[00:03:44] Kind of cool
[00:03:46] Maybe not super cool, but kind of cool
[00:03:49] Bit of warping. Uh, so maybe we create here
[00:03:55] A clip 85 bpm. We want to loop this
[00:04:00] Now we start here on d-sharp
[00:04:03] Actually people get mad when I use something different than d-sharp minor now
[00:04:11] It's quite the opposite when I started this channel everyone. Hey, why do you use d-sharp minor all the time now?
[00:04:17] It's like, oh, you haven't used d-sharp minor. What's going on? Are you sick polarity?
[00:04:39] Maybe go onto onto the dominant here
[00:04:42] Just to have some some kind of pedal sound or pedal tone in the background you can work with
[00:04:54] I
[00:04:56] Want to filter this probably
[00:05:12] So it was a pro q4
[00:05:14] They released some kind of compressor today, right? I thought to make a video on it, but
[00:05:19] Yeah, I
[00:05:24] Lot of people making videos on this. So why should I do another video?
[00:05:28] I don't need the views
[00:05:32] Uh, maybe a combined us
[00:05:38] Maybe a combined us here with the saw the polymer
[00:05:54] I need to have an adsr here
[00:05:56] And we need a bit of volume fluctuation. So there's a randomizer here
[00:06:05] So
[00:06:34] Also kind of cool, but not really cool
[00:06:37] Um, maybe I can bring in some bit of texture here
[00:06:45] Um, we have my textures preset
[00:06:51] Textures 1.1. Okay, let's use this. Oh, no, it's it's it's a wrong one
[00:07:03] Uh
[00:07:05] Textures
[00:07:09] Uh, no, it's probably this one here. Yeah
[00:07:17] Okay, so we can select just some kind of texture
[00:07:23] Uh
[00:07:25] So
[00:07:27] So
[00:07:29] So
[00:07:31] So
[00:07:33] So
[00:07:35] So
[00:07:37] So
[00:07:39] So
[00:07:41] So
[00:07:43] So
[00:08:08] Um, what's the name slow machine
[00:08:13] Um
[00:08:15] So
[00:08:17] So
[00:08:19] So
[00:08:21] So
[00:08:49] Let's see how it sounds before in front of the reverb
[00:08:53] So
[00:08:55] So
[00:09:24] That's a bit too static
[00:09:26] LFO and use the LFO just to change the volume here
[00:09:37] So
[00:09:39] So
[00:09:41] So
[00:09:43] So
[00:09:45] So
[00:09:47] So
[00:09:49] So
[00:10:18] That's better so on that we just use piano tech maybe the new version
[00:10:24] Um
[00:10:36] Let's use felt to and we want to have a nice reverb on that
[00:10:47] And
[00:10:49] Let's see how this sounds
[00:10:53] Um
[00:11:06] So
[00:11:08] Maybe we do something like this
[00:11:26] Uh, I record it here and then I use
[00:11:30] Um the settings
[00:11:34] Uh
[00:11:36] Settings and post play and then we record for eight bars
[00:11:43] Okay, so we record for eight bars here in the clip launcher
[00:11:50] And then it stops recording and then it just plays back what we just recorded. That's usually how I record my
[00:11:57] my melodies
[00:12:00] So I don't need to you know
[00:12:02] Um have the perfect timing for stopping recording
[00:12:06] So
[00:12:08] So
[00:12:10] So
[00:12:39] Maybe something like this just make it very very simple
[00:12:45] So
[00:12:47] So maybe we increase here the
[00:13:13] Velocity bit that's maxing out and then we can change the velocity distribution
[00:13:21] Something like this
[00:13:43] Okay, let's find some kind of bass so I also do here a very
[00:13:46] Simple one like simple sounds. I like to stack simple sounds and then you get a complex sound at least that's the
[00:13:54] That's the idea
[00:13:56] Tool and we want to make it mono
[00:14:00] You want to have an eight s r and you want to have this here, uh monophonic
[00:14:05] Uh, or maybe I use unison completely out
[00:14:11] Just take here
[00:14:13] Uh a sawtooth and then I tune this one see all the sounds and go down
[00:14:22] What do I need
[00:14:31] Maybe use a transpose. Yeah, that's what's that. That's what was the idea. I can't reach my keyboard
[00:14:36] Actually, it's it's a bit far far further away from my desktop. That's the problem
[00:14:41] Hmm
[00:14:43] Maybe I use an xp filter here with the notch
[00:14:55] And then we use and low pass
[00:15:03] Yeah, the filter plus and a bit of saturation
[00:15:09] Then we filter this away
[00:15:36] But for the rhythm, maybe we should start with the drums first before we go into
[00:15:41] Uh
[00:15:44] Before we go into the rhythm of the bass, maybe we should start and create some
[00:15:48] Yeah
[00:15:50] drum sounds first
[00:15:52] So use the poly grid here
[00:16:04] That's maybe two
[00:16:06] Use this for the pitch make it very
[00:16:18] Um pitch we use, um this one here
[00:16:26] So we probably want to go for g zero or something like this
[00:16:32] The wrong then we want to add the pitch and the loop here
[00:16:36] Let them continue right so we can change how much we want to influence the pitch there
[00:16:42] And we want to have an 80 here
[00:16:45] Then we exchange this for segments go for seconds
[00:16:52] We set or maybe we use here
[00:16:58] Uh 16 note eight note. We know exactly from run to from zero to one. It's actually exactly one eight note
[00:17:06] Maybe a soft attack
[00:17:12] Something along those lines and we want to re-trigger re-trigger here
[00:17:21] Let's see how this sounds
[00:17:25] Completely boring
[00:17:28] Uh
[00:17:30] Maybe I want to have here also segments
[00:17:38] So we use this instead
[00:17:44] Um
[00:17:53] This is also one eight note long maybe faster
[00:17:57] So
[00:17:59] I want to have to see a more
[00:18:03] Kind of rounded shaped so I use here a bend
[00:18:07] And here a second one
[00:18:11] Um
[00:18:13] Um, that's don't need this we need this maybe
[00:18:33] Yeah
[00:18:35] So
[00:18:37] So
[00:18:39] So
[00:19:07] Okay, so we need to shape this here a bit more
[00:19:09] And maybe we exchange this here for a pools
[00:19:17] So we get this and we can use a filter
[00:19:21] Low pass
[00:19:26] Or maybe we use this one here
[00:19:34] So
[00:19:36] And a bit of distortion maybe at the end
[00:20:02] Bit of saturation
[00:20:04] Not sure if I like this click and in the beginning
[00:20:18] Maybe one is enough
[00:20:25] You
[00:20:27] Have a go a bit lower
[00:20:36] Huh, that's okay
[00:20:44] So
[00:20:46] And let's settle for this one for for now
[00:21:02] So maybe I can treat this a bit here with the pro cure of a lot of low end there
[00:21:12] Um
[00:21:14] There is not much high end here what I can use to push it actually maybe I need some kind of noise layer on top but
[00:21:26] Um, I leave it I leave it for now
[00:21:30] Okay, so
[00:21:34] Use here a clap right in the middle
[00:21:41] And here we use a sampler and we want to use a noise texture
[00:21:47] Um
[00:21:50] noise probably noise
[00:21:52] Start with this one
[00:21:55] And we need some kind of filter and I really like to use for this
[00:21:59] The xp filter here with the peak
[00:22:02] Peak mode
[00:22:06] See how this one sounds
[00:22:08] And you don't need to pitch tracking here
[00:22:12] Ah, okay, probably noise is not for us
[00:22:19] White noise is better
[00:22:25] And we use a very short envelope
[00:22:37] Something like this
[00:22:39] And maybe we can use your second one
[00:22:47] And we blend these two together
[00:22:52] This one has a different frequency maybe a bit longer and a bit quieter
[00:22:58] One
[00:23:00] Okay, maybe your third one attire
[00:23:23] And longer
[00:23:28] And
[00:23:30] Let's see how this sounds
[00:23:40] Fantastic
[00:23:49] A bit of a cueing uh pro cue
[00:23:55] So
[00:23:57] And here we go for
[00:24:01] Have you pushed this one here
[00:24:06] So
[00:24:08] I don't want to make a drum bass now, okay, so
[00:24:35] I need to calm down
[00:24:37] Okay, let's stick with this for for a moment
[00:24:41] Okay, we need to uh clip this
[00:24:47] It's much better maybe we can also clip the kick drum here. Let's see how this sounds
[00:24:57] Or maybe we clip only the top end
[00:25:04] And
[00:25:06] And we use an eq 5
[00:25:13] Yeah, much better
[00:25:30] Okay
[00:25:32] Okay, so we start here with some samples with some hi-hat samples and we use some
[00:25:43] Now we need to hear it okay, we use some random samples here
[00:25:54] I'll probably exchange these later on
[00:25:59] Oh
[00:26:01] This is actually cool here this one here is something I can use on the maybe use another clap sample here
[00:26:11] Something like this
[00:26:19] Okay, let's play this back
[00:26:23] Usually this that's not my resolution. I just blow it up just for the video so you can see it better
[00:26:41] But usually I have it much smaller, right? So I'm always scrolling around here
[00:26:46] So I try to balance it already
[00:26:58] I'm not in the mix down yet, but I really like to have my sounds roughly in the
[00:27:04] Correct position so I can have a nice image of what I'm actually doing
[00:27:09] So that's that and then we use here some hi-hat sounds
[00:27:13] So
[00:27:42] There's no reverb here
[00:27:44] Oh, it's super quiet
[00:27:52] So a bit of filtering here on this clap sound
[00:28:04] Also want to make it a bit stereo here with a different pitch for the left and right channel
[00:28:11] I
[00:28:13] Really hate you this this kind of overlay it's really annoying that they made this I have no idea if this is intentional or not
[00:28:25] Always okay, it's gone for some reason
[00:28:38] Oh, it's it's only showing when when it's playing. Okay. Yeah, this this one. Yeah, it's really annoying
[00:28:44] So this is the kick
[00:28:53] Okay, so here we can maybe put the filter on there
[00:29:05] Yeah
[00:29:07] Or maybe a high pass
[00:29:33] And the postive x we use a super massive
[00:29:37] Let's use the note
[00:30:02] Maybe a bit longer
[00:30:04] And then a slow machine
[00:30:08] A slow machine
[00:30:13] And then we blend this in to the tri sound
[00:30:30] And maybe we delay the whole channel here with the delay one
[00:30:33] By one bar this is one bar for quarter notes. I guess it's one bar
[00:30:55] So we are in D sharp. So I guess we go here for D sharp notes. Maybe in D sharp five something. Let's do low D sharp six
[00:31:04] D sharp seven
[00:31:09] So
[00:31:37] They put this in one group calls just drums
[00:31:40] So
[00:32:09] The hats here we maybe you need a bit of
[00:32:11] I have no idea if this is actually a good track in the end. I'm just playing around here
[00:32:18] So
[00:32:20] So
[00:32:22] So
[00:32:24] So
[00:32:26] So
[00:32:28] So
[00:32:30] So
[00:32:32] So
[00:32:34] So
[00:32:36] So
[00:32:38] So
[00:32:40] So
[00:32:42] So
[00:32:44] So
[00:32:46] So
[00:32:48] So
[00:32:50] So
[00:32:52] So
[00:32:54] So
[00:32:56] So
[00:32:58] So
[00:33:00] So
[00:33:02] So
[00:33:04] So
[00:33:06] So
[00:33:08] So
[00:33:10] So
[00:33:12] So
[00:33:14] So
[00:33:16] So
[00:33:18] So
[00:33:20] So
[00:33:22] So
[00:33:24] So
[00:33:53] Okay, so we start to play the bass here. So this is really like like I just want to
[00:33:59] Try to create a vibe or
[00:34:03] You know an idea
[00:34:06] Where I want to go. So now I need to figure out what kind of bass pattern I need to play
[00:34:11] And I do this by just playing around
[00:34:14] Okay
[00:34:16] Okay, the drums are missing for some reason I guess I just use here the
[00:34:41] ranger
[00:34:43] Don't need to launch our stuff
[00:34:45] Okay, maybe do something like this
[00:35:01] So
[00:35:03] So
[00:35:05] So
[00:35:07] So
[00:35:09] So
[00:35:11] So
[00:35:13] So
[00:35:15] So
[00:35:17] So
[00:35:19] So
[00:35:21] So
[00:35:23] So
[00:35:25] So
[00:35:54] So I have three four different patterns. I think this one here
[00:35:58] Was kind of the best
[00:36:02] I'm not really sure. Maybe you still launch out to just store this
[00:36:06] I think this one here was the best
[00:36:09] So
[00:36:11] Okay, so I use maximum
[00:36:39] Velocity maximum warp
[00:36:41] Um
[00:36:44] Maximum warp
[00:36:47] Okay, I kind of
[00:36:50] Consolidators consolidators and then
[00:36:57] So
[00:36:59] It's very simple
[00:37:11] So maybe I use a lead sound on top
[00:37:18] And we want to keep it simple again use the pools
[00:37:25] And
[00:37:27] The reverb
[00:37:32] Damn, I like this track
[00:37:36] Probably not anymore in two days
[00:37:42] So
[00:37:44] What what do I play here, okay
[00:38:09] Super simple actually, it's too simple
[00:38:11] Simple
[00:38:13] So
[00:38:15] So
[00:38:17] So
[00:38:19] So
[00:38:21] So
[00:38:23] So
[00:38:25] So
[00:38:27] So
[00:38:29] So
[00:38:31] So
[00:38:33] So
[00:38:35] So
[00:38:37] So
[00:38:39] So
[00:38:41] So
[00:38:43] So
[00:38:45] So
[00:38:47] So
[00:38:49] So
[00:38:51] So
[00:38:53] So
[00:38:55] So
[00:38:57] So
[00:38:59] So
[00:39:01] So
[00:39:30] Okay, whatever
[00:39:32] Maybe it was this one here
[00:39:36] Let's play around you with the sound
[00:39:41] So
[00:39:43] So
[00:39:45] So
[00:39:47] So
[00:39:49] So
[00:39:51] So
[00:39:53] So
[00:39:55] So
[00:39:57] So
[00:39:59] So
[00:40:01] So
[00:40:03] So
[00:40:05] So
[00:40:07] So
[00:40:09] So
[00:40:11] So
[00:40:39] I kind of looped this here for now
[00:40:41] So
[00:40:43] So
[00:40:45] So
[00:40:47] So
[00:40:49] So
[00:40:51] So
[00:40:53] So
[00:40:55] So
[00:40:57] So
[00:40:59] So
[00:41:01] So
[00:41:03] So
[00:41:05] So
[00:41:07] So
[00:41:35] Hey look mom, I'm the LFO, so then we need to hear a bit of wobbling wobbly wobble manual
[00:41:45] So
[00:41:47] So
[00:41:49] So
[00:42:05] So
[00:42:07] So
[00:42:09] So
[00:42:11] So
[00:42:13] So
[00:42:15] So
[00:42:17] So
[00:42:19] So
[00:42:21] So
[00:42:23] So
[00:42:37] So
[00:42:39] So
[00:42:41] So
[00:42:43] So
[00:42:45] So
[00:42:47] Okay, so we do a bit here squash. I really like to use squash for some reason
[00:43:10] It's basically an
[00:43:13] OTT for free
[00:43:15] Just a tad, not too much
[00:43:21] Then we use here
[00:43:25] A clipper
[00:43:27] And maybe if I use a matcher
[00:43:35] So
[00:43:37] And I want to make this exactly
[00:43:57] Ten
[00:43:59] Ten
[00:44:01] Last loud
[00:44:03] So
[00:44:05] Then we have the bass
[00:44:15] The bass is also
[00:44:17] It's a bit of
[00:44:19] Limiting
[00:44:21] And we also make this
[00:44:25] Ten
[00:44:27] Minus ten loves loud
[00:44:31] And
[00:44:33] I found out for me it's the best best way of bringing everything and roughly in this
[00:44:39] In in a good spot
[00:44:43] And we need to duck this here so I'm using a spectral
[00:44:57] What's the name
[00:44:59] Spectral
[00:45:01] Compressor
[00:45:03] And we use the sidechain from the base drums master
[00:45:07] Sidechain input
[00:45:11] This one is very precise. It's very fast and I use here very
[00:45:25] Short release times release times almost have nothing to do with the
[00:45:31] With the reality I need to have this here. It's I don't know 20 milliseconds to get actually a 16 note
[00:45:39] Release time which is 80 milliseconds or 80 milliseconds way too long
[00:45:45] Some reason so I dial this in here to to my taste until it sounds right to me
[00:45:49] Until it sounds right to me
[00:45:51] You can see here the bass is ducked basically with the kick drum and with the snare with the hi-hat sometimes a little bit
[00:46:05] I don't try to overdo this all the time but sometimes it clears up
[00:46:13] You know
[00:46:15] The whole frequency distribution frequency spectrum
[00:46:19] The bass sound doesn't have actually that money. No, it's it's okay
[00:46:25] And maybe I get here
[00:46:33] A Pro-Q4 in there and I clean up here basically this area
[00:46:39] Because I want to have the bass there
[00:46:43] And I really like sometimes to clean this up here a bit
[00:46:47] Or reduce basically the volume just a tad so that the mid range of the bass has a bit more room
[00:46:55] Right there's too much
[00:47:03] [Music]
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[00:47:51] Okay, there's there's still some room where we can play some sounds in there
[00:47:55] Just want to try it out. So this is basically just to rough the basic idea of this track
[00:48:01] It's nothing nothing is finished
[00:48:03] It's just a rough idea. This is the melody. This is the bass pattern, right?
[00:48:07] This is the rhythm. This is the vibe
[00:48:11] And everything that comes now is basically trying to accentuate everything in the right right ways
[00:48:19] Usually this is where I fail and I do all the wrong things
[00:48:25] Usually
[00:48:27] So this is the lead
[00:48:29] [Music]
[00:48:37] So maybe this is cool for the intro
[00:48:41] [Music]
[00:48:43] Let's get this away
[00:48:45] This is your one minute training all this way too late. Maybe I'll start here
[00:48:51] [Music]
[00:48:53] This is where I remove the melody here
[00:48:57] [Music]
[00:49:07] So here I want to have something in there
[00:49:11] Actually here the hi-hat, this is playing a pattern from this pattern sequencer
[00:49:15] So we export this
[00:49:17] Let me track this in here
[00:49:19] [Music]
[00:49:21] Of course we want to start the pattern here, not in the intro
[00:49:25] Maybe I do something different in the intro so we hit stop here
[00:49:31] And now it's not playing anymore right when I click play here. It's not playing
[00:49:35] But it receives the notes here from the pattern
[00:49:37] [Music]
[00:49:49] So we can use here velocity spread
[00:49:53] [Music]
[00:50:03] We use the chain device
[00:50:07] Chain, hello chain
[00:50:11] [Music]
[00:50:13] Chain
[00:50:15] And we use here
[00:50:17] Delay plus
[00:50:19] [Music]
[00:50:23] Let's disable this for a moment here
[00:50:25] [Music]
[00:50:33] Now we switch this to fade
[00:50:37] [Music]
[00:50:43] Use a step mode here so we can change here basically delay times
[00:50:47] And because this is on fade we don't have all the pitch
[00:50:51] When you interfere with the buffer you get this pitch stuff happening
[00:50:57] And here with this we just prevent it
[00:51:01] Randomize this
[00:51:05] [Music]
[00:51:09] And I don't use a randomizer because I want to have some kind of pattern
[00:51:13] So it repeats kind of the delay time settings here
[00:51:17] [Music]
[00:51:25] It's so fun to play around with the building I tell you
[00:51:29] [Music]
[00:51:33] We just use a soft thing here
[00:51:37] [Music]
[00:51:59] Yeah we make it very long
[00:52:03] But we take the input the feed signal we take it out right so
[00:52:07] [Music]
[00:52:09] That's actually a bit too long
[00:52:13] It's still too long
[00:52:17] [Music]
[00:52:21] So we can go here to 50%
[00:52:25] Hello 50%
[00:52:29] We feed it in at random points in the track
[00:52:33] So we just automate this
[00:52:37] [Music]
[00:52:41] [Music]
[00:52:45] [Music]
[00:52:49] [Music]
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[00:53:01] [Music]
[00:53:05] [Music]
[00:53:09] [Music]
[00:53:13] So lovely
[00:53:17] So that's enough enough enough talk
[00:53:21] Pitch shifter maybe we can pitch this up here
[00:53:25] Let's see how this sounds
[00:53:29] [Music]
[00:53:33] [Music]
[00:53:37] [Music]
[00:53:41] [Music]
[00:53:45] [Music]
[00:53:49] I just want to have some kind of texture in the background
[00:53:53] [Music]
[00:53:57] [Music]
[00:54:01] [Music]
[00:54:05] [Music]
[00:54:09] [Music]
[00:54:13] [Music]
[00:54:17] So we feed the pitch and all this stuff all this crap here into the reverb
[00:54:21] That's a bit better, I think.
[00:54:24] [Music]
[00:54:26] [Music]
[00:54:36] [Music]
[00:54:46] [Music]
[00:55:00] Okay, nice. So then we use an audio track and I don't
[00:55:04] use my vocals. Hello, hello, hello. I use my...
[00:55:10] What do I use? I use my external synthesizer, because it's
[00:55:14] much faster sometimes to use a noise.
[00:55:20] I just record noise through a filter and I have
[00:55:26] your input. That's this one.
[00:55:30] [Music]
[00:55:38] So I only want to have noise.
[00:55:46] Now all I do is basically I record it and then I play around to the filter.
[00:55:52] [Music]
[00:56:20] Of course I put some kind of reverb then on top.
[00:56:24] [Music]
[00:56:28] It's already one hour recorded. Damn.
[00:56:32] [Music]
[00:56:52] [Music]
[00:57:08] We have this noise sample here and I use reverb on that
[00:57:16] and probably high pass.
[00:57:24] [Music]
[00:57:44] I want to fade this in slowly over time.
[00:57:50] Maybe I want to have this here.
[00:57:54] Could you not just take here some kind of line audience here?
[00:58:02] [Music]
[00:58:30] [Music]
[00:58:36] Can I not move this here?
[00:58:40] I want to have this here, but then I fade this out there.
[00:58:46] And I reduce a bit of the reverb too much.
[00:58:54] Maybe I use your automation to bring the volume faster down.
[00:59:02] [Music]
[00:59:26] Okay, so we just bounced this, so I never have to think about this again.
[00:59:32] In place.
[00:59:36] Delete all of this crap.
[00:59:40] [Music]
[01:00:08] [Music]
[01:00:14] So we bring something new in here, maybe a different tonality here.
[01:00:18] I just use some synthesizers, but probably I want to use here
[01:00:22] some samples just to get something random, a different sound in there.
[01:00:28] [Music]
[01:00:38] [Music]
[01:00:48] [Music]
[01:00:58] [Music]
[01:01:08] [Music]
[01:01:16] Done.
[01:01:20] [Music]
[01:01:26] Yeah, we record here the movement.
[01:01:30] [Music]
[01:01:40] [Music]
[01:01:50] [Music]
[01:02:00] [Music]
[01:02:04] Damn, nice.
[01:02:06] Another polymer.
[01:02:08] This here pulls.
[01:02:12] Lots of reverb. It's just for the background, so something happens in the background.
[01:02:18] Distract the listener that actually nothing is going on at all in the track, music-wise.
[01:02:26] That's usually how modern music is made.
[01:02:28] You just throw a random, you know, FX in the song and at every corner something happens,
[01:02:36] but actually nothing is moving forward.
[01:02:40] That's idea.
[01:02:46] [Music]
[01:02:50] [Music]
[01:03:00] [Music]
[01:03:10] Okay, I am modulating this manual and both directions.
[01:03:20] [Music]
[01:03:30] [Music]
[01:03:40] [Music]
[01:03:50] [Music]
[01:04:02] Oh yeah, some kind of pitch drop at some point, maybe here.
[01:04:10] [Music]
[01:04:38] I need to go further in the background with this.
[01:04:44] [Music]
[01:04:52] Yeah, and here we probably...
[01:04:56] It's time for the...
[01:04:58] It's time for the...
[01:05:02] ARP.
[01:05:06] [Music]
[01:05:10] We have this one here, probably this one.
[01:05:16] This one, but we want this one as the lowest, I guess.
[01:05:22] [Music]
[01:05:40] [Music]
[01:06:08] [Music]
[01:06:12] And delay.
[01:06:16] [Music]
[01:06:44] Maybe get the lead out here.
[01:06:48] Replace it with the ARP.
[01:06:52] [Music]
[01:06:56] Use a step mod for that.
[01:07:00] [Music]
[01:07:02] Six steps, 16 knots.
[01:07:06] [Music]
[01:07:16] Eight steps, nine steps.
[01:07:20] [Music]
[01:07:44] Another one.
[01:07:48] [Music]
[01:07:58] [Music]
[01:08:08] [Music]
[01:08:18] We are in minor.
[01:08:22] [Music]
[01:08:32] [Music]
[01:08:42] [Music]
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[01:10:02] [Music]
[01:10:12] [Music]
[01:10:20] Okay, I admit it, it's a bit cheesy.
[01:10:26] But yeah, it's a nice switch for my usual
[01:10:32] jump-based tracks. I like to do this stuff for some reason.
[01:10:36] It really chills me out. That's why I'm doing it.
[01:10:40] I don't know, I just recorded already for one hour and ten minutes.
[01:10:46] The boring stuff comes now, right? I just play around
[01:10:50] or play this here over and over and then I try to
[01:10:54] notch things around, add some small details here and there.
[01:10:58] It takes probably four hours now.
[01:11:02] Maybe I put something here on the master. I usually
[01:11:06] use, at the moment,
[01:11:10] I just use Matcher. Most of the time I have here some target
[01:11:14] frequencies or some target
[01:11:18] frequency distributions or whatever you want to call it.
[01:11:22] Some target curves and I really like to use that.
[01:11:26] Just analyze it
[01:11:30] and go for something.
[01:11:34] And I always just mix it in by 50%
[01:11:38] maximum. I don't go for 100%. It's just so I'm roughly
[01:11:42] go to the same kind of
[01:11:46] distribution.
[01:11:50] The interesting part about Matcher is that it also matches here
[01:12:04] the side channel, which is really interesting
[01:12:08] because you can really match also the stereo
[01:12:12] with often records, right? So you hit always the same
[01:12:16] kind of wideness and loudness and frequency distributions.
[01:12:20] It really helps sometimes when you have multiple tracks on an EP or album
[01:12:24] and you want to go for the same sound, this really helps here.
[01:12:28] So on the master, do we do actually
[01:12:32] that's actually it. Sometimes we just put the mastering
[01:12:36] limiter on there or maybe just another squash
[01:12:40] which is just an OTT, but just dial it
[01:12:44] in a tad, not too much.
[01:12:48] And then I measure here the loudness and I probably want to have something around
[01:12:58] minus 8, probably lower.
[01:13:02] That's too loud here.
[01:13:06] [Music]
[01:13:10] [Music]
[01:13:14] [Music]
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[01:14:02] [Music]
[01:14:06] [Music]
[01:14:10] [Music]
[01:14:14] [Music]
[01:14:18] It's probably way too loud, but I can't hear it on my headphones. It all sounds kind of the same on my headphones.
[01:14:22] So it's probably when I watch the rewatch this video
[01:14:26] it's probably way too loud, but I don't care. I just upload this here for YouTube
[01:14:30] so you can rewatch it or do whatever you want to do with this.
[01:14:34] And I also put this project on my Patreon
[01:14:38] if you want to download this. I probably finish this here today, maybe
[01:14:42] tomorrow. So like I said, all I want to do now
[01:14:46] is just put in some details, FX sounds, transitioning sounds
[01:14:50] bring out here the lead sound or the lead melody, maybe in the intro with another
[01:14:54] synth. Maybe I use the arp here
[01:14:58] and filter the arp a bit more and some, you know, some breakdowns here
[01:15:02] and some details here and there. That's basically what I do now.
[01:15:06] Boring stuff takes two hours, three hours.
[01:15:10] The mixdown is, I would say, pretty much in already good state
[01:15:14] so I don't spend too much time on the mixdown. On the master, like I said
[01:15:18] I don't do that much anymore these days on the master
[01:15:22] because I already do a lot of things here on the buses
[01:15:26] so I just use a match up to go roughly in the same frequency distribution
[01:15:30] so mastering limiter on there. Sometimes not even just that
[01:15:34] just, you know, just the clipper here to clip the rest of the drums
[01:15:38] from the master and then
[01:15:42] control my loudness here. So I go to
[01:15:46] a good level.
[01:15:50] Minus eight luffs, so it's not that loud actually for me. For most people it's super loud.
[01:15:56] Yeah, that's usually how I do it. Maybe I could
[01:16:00] do more here on these tracks to filter out
[01:16:04] certain arias, like the drone here, like the melody
[01:16:08] or the melody filters, you know, I use then here a spectral compressor
[01:16:12] and filter out some of the frequencies of the drone from the melody and
[01:16:16] stuff like this, but usually I don't do that much.
[01:16:20] I see a lot of people do tutorials and they put a lot of work into this
[01:16:24] kind of stuff. I did this myself too
[01:16:28] in the past, but I feel like
[01:16:32] it doesn't do that much. It just makes everything
[01:16:36] complicated and you lose track of what you actually want to do.
[01:16:40] So if the melody is in, you know, in a good spot
[01:16:44] and the drums are in a good spot, on the basses in a good spot you actually
[01:16:48] can't do wrong with the mix down, in my opinion.
[01:16:52] And yeah, maybe I should
[01:16:56] put here Pro-Q.
[01:17:00] Sometimes I just do that, right? I cut everything out here below the bass.
[01:17:04] Just to get this away, yeah.
[01:17:10] But that's all I do on the master. Maybe an
[01:17:16] Elevate plug-in, which is also just a multi-band limiter,
[01:17:20] but for this ambient type of stuff here, I usually don't do much.
[01:17:24] Anyway, enough talk. Thanks for watching.
[01:17:28] Let me know what you think in the comments down below. Of course, leave a like, leave a subscription
[01:17:32] and give me
[01:17:36] feedback. Let me know what you think. Maybe I should do more of these videos. Or maybe I should
[01:17:40] finish this year in another video, which I probably never do. But anyway,
[01:17:44] let me know, okay? Thanks for watching. Bye.