[Bitwig模板鼓打贝斯]Polarity Music Quick and Dirty Drum and Bass [DAW Templates]（5MB）

FANTASTiC | 08 August 2025 | 5 MB

在今天的音乐制作环节中，我们专注于使用 Addictive Drums 创建鼓和贝斯音轨。以下是所用步骤和技巧的简要概述：
设置：
•首先在主音轨上放置一个 -2 dB 的峰值限制器。
•加载 Addictive Drums，选择一套鼓，并将速度设置为 120 BPM。
鼓编程：
•为底鼓和小军鼓制定基本的模式，注重简单性和不同的动态速度。
•应用最小混响并循环鼓模式。
•为了获得更多攻击力，为底鼓选择了较低速度的样本，并禁用了底鼓和小军鼓的替代样本。
声音塑造：
•通过禁用循环采样和削减一些低端频率来调整底鼓和小军鼓的声音。
•加入幽灵音符以增加节奏的复杂性。
•使用均衡器和音高包络调整来增强小军鼓的瞬态攻击，并调整麦克风的位置以获得更具凝聚力的鼓总线声音。
处理和效果：
•将房间麦克风输出分离进行单独处理，并使用均衡器和中侧处理来增强空间效果。
•应用瞬态控制和轻度压缩来优化动态，偶尔使用硬削波来获得更可控的声音。
贝斯线和合成：
•使用合成器创建贝斯线，使用调制来增强质感，并使用陷波滤波器为混音中的底鼓留出空间。
•叠加其他鼓元素，并使用均衡器和动态效果处理贝斯，使其与鼓声顺畅融合。
最终调整和弹跳：
•对鼓和贝斯元素进行最后的调整，确保它们完美契合。
•本次会议以弹跳音轨、调整项目节奏以及讨论如何使用混响和失真等效果器来完成最终音效而结束。
总而言之，本次会议有效地展示了如何从零开始创建动态且富有质感的鼓和贝斯音轨，强调了鼓的编程、声音设计和混音技巧。
In today’s music production session, we focused on creating a drum and bass track using Addictive Drums. Here’s a concise overview of the steps and techniques employed:
Setting Up:
•Started by placing a peak limiter on the master at -2 dB.
•Loaded Addictive Drums, selected a drum kit, and set the tempo at 120 BPM.
Drum Programming:
•Laid down basic patterns for kick and snare drums, focusing on simplicity and varying velocities for dynamics.
•Applied minimal reverb and looped the drum pattern.
•For more attack, selected lower velocity samples for the kick and disabled alternative samples for both kick and snare.
Sound Shaping:
•Adjusted the kick and snare sounds by disabling round robin sampling and cutting some low-end frequencies.
•Incorporated ghost notes to add complexity to the rhythm.
•Used EQ and pitch envelope adjustments to enhance the snare’s transient attack and adjusted mic positioning for a more cohesive drum bus sound.
Processing and Effects:
•Separated the room mic output for individual processing, employing EQ and mid-side processing to enhance spatial effects.
•Applied transient control and light compression to refine dynamics, occasionally using hard clipping for a more controlled sound.
Bassline and Synthesis:
•Created a bassline using a synthesizer, employing modulation for texture and a notch filter to carve space for the kick drum in the mix.
•Layered additional drum elements and processed the bass with EQ and dynamic effects to integrate it smoothly with the drums.
Final Adjustments and Bouncing:
•Made final tweaks to the drum and bass elements, ensuring they fit well together.
•The session ended with bouncing down the tracks, adjusting project tempo, and discussing the use of effects like reverb and distortion to finalize the sound.
Overall, the session was an effective demonstration of creating a dynamic and textured drum and bass track from scratch, emphasizing drum programming, sound design, and mixing techniques.
FANTASTiC