Keep in mind. If you put sandboxing by manufacture in more than 2 Psyscope instances in a project, psyscope tracks will automatically get routed with each other so you dont have to open multiple times the Psyscope plugin. An example in order to understand my poor English explanation would be. Put sanboxing by manufacture so that plugins from same manufacture communicating with each other. Put a Psyscope to bass channel, put a psyscope to kick channel. Now you have both channel signals appearing all in one plugin (psyscope) window. Same applies for other plugins as an example with multiple Fab. Pro Q 3 instances. Thank you for bringing us great content and inspiration.😊
THANKS OLLIE for the tutorial, when I make my bassline I put another filter after the first filter to remove the clickiness, one thing that really worked well is using the multibandFX and add a transient split to the high end and control the attack. I use saturation on the high end and eq at the end. I'm quite happy with the result. Just sharing part of my process. I also use the multiband FX to give the bass that disperser sound.
Wow bro you are amazing. Love your videos. You don't just say "do this cuz it sounds good" for just explaining the basic principles of the processes you already answared a lot of questions I had and couldn't find a more direct answer. Hope I can take your course in a near future.
To be fair and square, in the case of this bassline, Ableton does give you the exact same control unless you start adding different effects to the different bands of Multiband FX3! However, the moment you start making things a bit more complexe, nothing can come as close as Bitwig ^^
@@Artek604 I found multiband compressor to be the most straightforward, you just need to drag & drop, turn off the compressors and you're good to go ! However, if you want to add saturation to seperate bands, then you need to go the EQ3 group methode (3 EQ3 in parallèle)
Total beginner here so a lot to learn, but I must be missing something along the way. On the SPAN the wave doesn't drop down in DB from 3.0hz to -72DB, instead it stays at -36 and only dips to -42 at the end.
Love this tutorial! I feel Bitwig's spectrum analyzer is good enough (with the defaults changed for higher resolution). For the Oscilloscope it would be nice if it could be easily beat synced and would overdraw instead of erasing and drawing (which flickers).
Dear Ollie, among this great add I would like to see some explanation on how to achieve groove and variations on a faster rolling full on bassline(i.e. 145bpm) like I can hear in your tracks but don't know how to achieve that. when and where to change notes, apply some swing and other creative editing to create such effect??? as a suggestion. please let us know. cheers mate!!!
@@olliepsy yeah something about 145 and 148 would be great to understand where and when to apply such variations keeping the rolling bassline fullon but not boring at same time. we have lots of slow tempo prog examples and it seems more easy to achieve but at higher bpms and shorten notes there is no clear explanation on that matter. appreciate man. thanks.
Strange to me that you dont render the bass and kick as one shots and then do your pattern/lengths.. You know, to ensure the lengths are perfect + Especially if you are working with any analog sounds to ensure uniformity.
This+Kick videos are great! Thanks so much. Question I have, did you try (free) MPhaser to get the phase shift? It would be great to see your feedback on using MPhaser.
great video! but maybe - in the next video - you can sidechain your microphone to your master so we don't hear the room while you playback the project.
Ollie I have one question: I understand this well enough and am confident I can reproduce this in live. But how am I going to go about further adding effects/eq etc on the bass, let's say when I'm mixing the track? Doesn't adding additional effects/devices screw with the phase of the kick, thus kinda ruining the alignment etc? Or do I do your tutorial when I mix the bass itself? Thanks!
To me alighnment is always the last part, when i have done the track and am fully satisfied with the overall tone of kick and bass, then i tweak the alignment
I wish I could explain this well in one take lol...
you solid too man for real
@@mykemuyska8683 lol thanks
then come back to Bitwig ;-)
@@andytuke8986 no I'd just get confused again
Keep in mind. If you put sandboxing by manufacture in more than 2 Psyscope instances in a project, psyscope tracks will automatically get routed with each other so you dont have to open multiple times the Psyscope plugin. An example in order to understand my poor English explanation would be. Put sanboxing by manufacture so that plugins from same manufacture communicating with each other. Put a Psyscope to bass channel, put a psyscope to kick channel. Now you have both channel signals appearing all in one plugin (psyscope) window. Same applies for other plugins as an example with multiple Fab. Pro Q 3 instances. Thank you for bringing us great content and inspiration.😊
Not only is this a super great on point tutorial. but it`s also really cool to see how confident and precise you have become as a content creator!
Thank you for your kind words and support Mathieu
THANKS OLLIE for the tutorial, when I make my bassline I put another filter after the first filter to remove the clickiness, one thing that really worked well is using the multibandFX and add a transient split to the high end and control the attack. I use saturation on the high end and eq at the end. I'm quite happy with the result. Just sharing part of my process. I also use the multiband FX to give the bass that disperser sound.
wau never new bitwig was so (modular). Time to give it a try
grate to see how simpel psytrance is to make!
thanks a lot
It is basically a modular DAW, you can modulate everything with everything ;)
@@olliepsy pff yet another daw to learn.
Just started fiddling with vcv rack.
Your Videos are always Inspiring
Wow bro you are amazing. Love your videos. You don't just say "do this cuz it sounds good" for just explaining the basic principles of the processes you already answared a lot of questions I had and couldn't find a more direct answer. Hope I can take your course in a near future.
Thanks for the in-depth on the ply-grid for bass! A little different to Vital/Serum! :)
Great video Ollie!
nice tutorial
❤ super 👍
The amount of control Bitwig gives over every aspect of the sound is incredible.
Good luck recreating this in S1, Cubase or even Live :)
To be fair and square, in the case of this bassline, Ableton does give you the exact same control unless you start adding different effects to the different bands of Multiband FX3!
However, the moment you start making things a bit more complexe, nothing can come as close as Bitwig ^^
@@olliepsy Right! What you're using as a frequency splitter in Live? EQ-8 or Autofilter in FX Rack? Or Multiband Compressor? Or EQ Three?
@@Artek604 I found multiband compressor to be the most straightforward, you just need to drag & drop, turn off the compressors and you're good to go !
However, if you want to add saturation to seperate bands, then you need to go the EQ3 group methode (3 EQ3 in parallèle)
Total beginner here so a lot to learn, but I must be missing something along the way. On the SPAN the wave doesn't drop down in DB from 3.0hz to -72DB, instead it stays at -36 and only dips to -42 at the end.
Love this tutorial! I feel Bitwig's spectrum analyzer is good enough (with the defaults changed for higher resolution). For the Oscilloscope it would be nice if it could be easily beat synced and would overdraw instead of erasing and drawing (which flickers).
Dear Ollie, among this great add I would like to see some explanation on how to achieve groove and variations on a faster rolling full on bassline(i.e. 145bpm) like I can hear in your tracks but don't know how to achieve that. when and where to change notes, apply some swing and other creative editing to create such effect??? as a suggestion. please let us know. cheers mate!!!
That would be a great idea for a followup video, thanks for the suggestion :)
PS : (I work with 148+ bpm :p)
@@olliepsy yeah something about 145 and 148 would be great to understand where and when to apply such variations keeping the rolling bassline fullon but not boring at same time. we have lots of slow tempo prog examples and it seems more easy to achieve but at higher bpms and shorten notes there is no clear explanation on that matter. appreciate man. thanks.
Strange to me that you dont render the bass and kick as one shots and then do your pattern/lengths.. You know, to ensure the lengths are perfect + Especially if you are working with any analog sounds to ensure uniformity.
This+Kick videos are great! Thanks so much.
Question I have, did you try (free) MPhaser to get the phase shift? It would be great to see your feedback on using MPhaser.
Any good recommendations for oscilloscopes for Linux?
great video! but maybe - in the next video - you can sidechain your microphone to your master so we don't hear the room while you playback the project.
Oh no, I didn't realize it, usually there is a gate on the mic for that!
Maybe an error occured while exporting :(
You could have used the velo mult module.
Just wanted to propose that too. Makes the patch simpler and gives direct control and visibility of the mod ammount.
Ollie I have one question:
I understand this well enough and am confident I can reproduce this in live. But how am I going to go about further adding effects/eq etc on the bass, let's say when I'm mixing the track? Doesn't adding additional effects/devices screw with the phase of the kick, thus kinda ruining the alignment etc? Or do I do your tutorial when I mix the bass itself? Thanks!
To me alighnment is always the last part, when i have done the track and am fully satisfied with the overall tone of kick and bass, then i tweak the alignment
❤+