![图片[1]-Producertech Drum and Bass Groove, Part 2: Adding Foley and Developing the DnB Groove [TUTORiAL] | 音色插件资源网-音色插件资源网](https://www.yinsebar.com/wp-content/uploads/2020/11/image-96.png)
P2P | 2020年8月28日| 2.9 GB
在整个课程中，制作人Chris Octane和Liam O’Mullane邀请您加入他们的工作室，在这里您可以观察他们的方法和先进的技术来制作严肃的Drum和Bass凹槽。克里斯和利亚姆目前作为新成立的服装“ colo [r]”的一部分进行生产，汇集了在电子音乐制作，DJ和声音设计方面的丰富经验。
在第二部分中，二人组开发了第1部分中介绍的凹槽，并添加了额外的样本和循环，并进行了实时编辑和混合。然后添加Foley，将其录制在录音室附近的室外位置，并与新的和弦序列组合以形成大气的介绍。然后进行附加的安排，以及声音录制和处理，直到轨道真正成形为止。
先进的播放器技术可帮助学生从每个模块中快速轻松地获取信息，并在课程中添加了提示点，以便即时跳过每部电影中的信息时刻。除了流式传输的电影外，该课程的Live项目还提供下载，还有Loopmasters提供的100MB以上的DnB样本。有关更多信息，请查看课程预告片和示例模块，或收听下面课程的曲目。
模块1：简介
克里斯·奥克塔娜（Chris Octane）和利亚姆·奥马兰（Liam O’Mullane）向您介绍了他们的会议计划，并简要讨论了从哪里开始。
模块2：鼓-声音设计
colo：r首先处理主鼓的合成元素。他们巧妙地操纵各种振荡器，从而产生强大的人工小军鼓声音和鼓声。在以下部分中，这些电子声音将与声学录制的副本合并，以创建逼真的震撼的节拍。
模块3：鼓-声学套件和音序
在第二个鼓部分，Chris和Liam将声学套件映射到Push。然后，他们将它们与合成鼓结合起来，进行各种处理，包括侧链压缩。接下来，他们为鼓设置立体声图像，包括利用HAAS效果的新颖技术。经过处理的合成器和原声鼓相结合，创造出深沉的节奏。
模块4：低音提琴
colo [r]通过创建超低频元素来开始处理低音。应用了各种处理，包括陷波滤波器和与EQ协同工作的包络跟随器。
模块5：低音设计1第1部分
在此模块中，Chris和Liam开始研究低音部分。使用模拟，他们合成了该类型广为人知的扭曲低音。然后，他们在应用包括延迟效果在内的各种效果之前，操纵各种控件来创建所需的声音。
模块6：低音设计1第2部分
继续低端，克里斯和利亚姆展示了他们如何使用iPad（映射到Ableton中的XY设备）同时控制来自不同插件的多个参数。这使自动化能够以更类似于性能的方式进行编写，这是其创建低音线过程不可或缺的一部分。
模块7：清单编辑
在本节中，您将看到colo：r如何使用排列视图执行清单编辑，这是一种非常有用的基于采样的技术。
模块8：低音设计2第1部分
colo：r返回到低音，以进一步完善它。经过多次自动化并使用参数均衡器和多频带压缩进行处理后，它们将向您展示如何冻结声音并将其映射到Push，然后使用宏控件进一步处理声音。
模块9：低音设计2第2部分
在本节中，Liam和Chris使用步进音序器创建低音线。他们利用Push上的触摸感应推子进行自动传递，并真正开始专注于DnB凹槽。
单元10：更多的鼓，更多的低音
本节全部关于精制。记录其他零件，应用过滤器和其他处理，并在滚筒上使用自动化。
单元11：打击乐
在本系列的最后一部分中，colo：r通过添加各种打击乐元素（包括Octane包中的部分）为曲目增添趣味，这些元素将设置为使用Push进行演奏。可以使用多种效果为打击乐添加时髦的变化，包括自动平移，自动均衡和自动滤镜。然后，本模块以Chris和Liam的摘要结尾。
P2P | 28 August 2020 | 2.9 GB
Throughout this course, producers Chris Octane and Liam O’Mullane invite you to join them in the studio, where you can observe their methods and advanced techniques for creating a serious Drum and Bass groove. Currently producing as part of newly formed outfit ‘colo[r]’, Chris and Liam bring together a veritable mountain of experience in electronic music production, DJing and sound design.
In this second instalment, the duo develop the groove they started in part 1, embellishing with extra samples and loops, which are edited and mixed in realtime. Foley is then added, recorded in an outdoors location near the studio, which is combined with a new chords sequence to form an atmospheric intro. Additional arrangement is then carried out, as well as vocal recording and processing, until the track starts to really take shape.
State of the art player technology helps students obtain information quickly and easily from each module, with cue points added to lessons for instant skipping to informative moments in each movie. In addition to the streamed movies, the Live project from the course is supplied as a download, along with over 100MB of DnB samples from Loopmasters. For more information, check out the course trailer and sample module, or listen to the track from the course below.
Module 1: Introduction
Chris Octane and Liam O’Mullane introduce you to their plan for the session with a brief discussion about where to start the track.
Module 2: Drums – Sound Design
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.
Module 3: Drums – Acoustic Kits and Sequencing
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.
Module 4: Sub Bass
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.
Module 5: Bass Design 1 Part 1
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.
Module 6: Bass Design 1 Part 2
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.
Module 7: Slip Editing
In this section, you will see how colo:r use the arrangement view to perform slip editing, an extremely useful sampling-based technique.
Module 8: Bass Design 2 Part 1
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.
Module 9: Bass Design 2 Part 2
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.
Module 10: More Drums, More Bass
This section is all about refinement. Additional parts are recorded, filters and other processing are applied and automation is used on the drums.
Module 11: Percussion
In the final section from this instalment, colo:r spice up the track by adding various percussion elements, including parts from Octane’s pack, which they set up to be played using Push. A variety of effects are used to add funky variations to the percussion, including auto-pan, automated EQ and auto-filters. This module then concludes with a summary by Chris and Liam.
