Bundle - Creating a Drum and Bass track with colo[r]

In this module, colo[r] add additional bass samples to the groove, showing various editing techniques along the way and processing sounds with effects to maintain a cohesive and unified sound.

This module starts with some project organising and micro mixing, focussing predominantly on the bottom end. The groove is then extended once again, this time with an extra drum loop shuffle.

The arrangement starts to take shape in this module, as colo[r] lay out a secondary groove section that incorporates the new drum loop. All parts are then edited and processed with different effects and automation, to add further character and interest.

This module provides an overview of the foley recording, then spends some time reviewing the recordings and selecting suitable parts to use.

In this module, colo[r] add the new foley clips to the arrangement and show how to edit and process them to start building a cool intro.

This module begins by working out and recording the main chords sequence, which is then used to trigger multiple chains in an instrument rack, containing various instruments that are processed in unique ways to create a blend of melodic elements for the intro.

More editing and refining techniques are shown in this module, looking at how to retune and improve the sound of the lead, as well add width. Then, hats and foley are arranged to create an atmospheric start to the track.

In this final module, the bass is fattened with wave shaping and other effects, after which a vocal is sung by Liam, which is then edited and used to further embellish the intro. There is then a brief summary of the main achievements of this part of the course.

Introducing the final installment of their course, Liam and Chris return to the track and start refining the main section. They tidy up the bassline, add new drum fills and improve the sound design.

Next, colo[r] create an FX sound from a vocal sample. They manipulate the original sound, utilise a vocoder and refine the automation, altering the interplay between the drums and the vocals in the main section.

In the third module, Chris and Liam add variations in the melodic and drum parts to the Main and Intro sections. Utilising Analog, they create a brand new sound before warping drum parts - demonstrating the importance of focusing on the fine details of your sound.

Returning to the arrangement, colo[r] add drum fills to the end of the introduction. Utilising existing elements of the track, they create a fill that hints at future sections, sequenced using the Ableton Push. They then return to the drum fills in the main section, altering the timings.

In this module, colo[r] add a new FM synth part using NI FM8, demonstrating how to manipulate the fine tuning by connecting multiple oscillators. They then add FX and processing, including the filtered HAAS effect setup from Part 1 and build it into a device rack.

In module 6, colo[r] extend the arrangement and move on to the breakdown section. Returning to the main part, they add additional bass melody variations using pitch shift automation and new atmospheric parts to create an evolving texture that builds suspense before the drop.

Returning to the introduction, colo[r] extend the length of the parts, slowly ramping up the texture - giving a sense of excitement that is enhanced by the reverberant and atmospheric sound that characterises the track. They apply filters and add new percussion and drum parts that further add to the timbre of the track.

In the final arrangement module, colo[r] finish refining the different parts before creating elegant filter sweeps on noise parts, contributing to the huge texture.

Proceeding with a fast and efficient mix, colo[r] focus on the drums and bass. They add an EQ synced to different parts, altering the EQ in real time depending on what other parts are playing to create a hugely energetic sound. Homing in on individual instruments, they add compression and EQ to sit the parts together.

Completing the track, colo[r] demonstrate a quick home master using a harmonically exciting EQ from UAD before moving on to using iZotope Ozone 5 for multiband limiting and stereo width.

Chris Octane and Liam O'Mullane introduce you to their plan for the session with a brief discussion about where to start the track.

colo[r] start by working on the synthesised elements of the main drums. Skilfully manipulating various oscillators, they create powerful artificial snare and kick drums sounds. These electronic sounds will be combined with acoustically recorded duplicates in the following section, to create realistic and powerful beats.

In the second drums section, Chris and Liam map an acoustic kit to Push. They then combine this with the synth-drums, applying various processing including side-chain compression. Next, they set up a stereo image for the drums, including a novel technique that makes use of the HAAS effect. The combined processed synth and acoustic drums create a beat with tremendous depth.

colo[r] begin working on the bass by creating the super-low-frequency elements. Various processing is applied, including notch filters and an envelope follower working in tandem with EQ.

In this module, Chris and Liam begin work on the bass part. Using Analog, they synthesise the twisted bass sound that the genre is so well known for. They then manipulate the various controls to create the sound they want, before applying various effects including grain delay.

Continuing with the low end, Chris and Liam demonstrate how they use an iPad, mapped to an XY device in Ableton, to control multiple parameters from different plugins simultaneously. This enables automation to be written in a more performance-like manner, which is an integral part of their process for creating bass-lines.

In this section, you will see how colo:r use the arrangement view to perform slip editing, an extremely useful sampling-based technique.

colo:r return to the bass sound, to further refine it. After multiple automation passes and processing using parametric EQ and multiband compression, they show you how to freeze the sound and map it to the Push, before further manipulation of the sound using macro controls.

In this section, Liam and Chris use the step sequencer to create a bass-line. They make use of the touch sensitive fader on Push for automation passes and really begin to focus in on the DnB groove.

This section is all about refinement. Additional parts are recorded, filters and other processing are applied and automation is used on the drums.