I figured out how to make Chase & Status, Bou's BADDADAN... Full Tutorial 😮

foreign [Music] [Music] I absolutely love this track as it Blends all the elements I love about drum and bass from the brakes to the jump up bass sounds the UK dancehall vocals as well as the futuristic synths this track has all the ingredients of a perfect pitch by the end of this video you'll learn how to make the main bass sounds the overall Groove the composition that makes this a hit should I said the Chase's status and Boo for making such a monster of a tune of course shouts out to the vocalists who make this track so iconic flodon era trigger that's Cura I'm glad to see Chase's status make a comeback because they have such an ear for making hits and of course boo who is at the top of the German base game right now destroying dance for us worldwide with his tracks and by the way this video has been improved by boo himself so big up I love it when artists are for the culture all right let's go all right let's talk about the drums first so it's using a pretty standard drum and bass pattern here's the kick and we have the snare on the two and four and of course uh hi-hats on every quarter note so we have this [Music] kind of a snare it's using a clap in this track a lot of newer drum and bass rollers and jump up or using a Clap the only thing with the clap is they're adding some Distortion and clipping from what I hear to make it really driven so here's the original clap then I add a bit of a riff to distort it and I added a Clipper to square it out and then we have this now the kick uh what I I'm hearing on the actual paradon track is the very first kick has a bit more of an impact I can almost hear like there's a bit of texture on top of the kick so I'm using the same kick here but on this instance here what I've done is I added shaper box on this first kick instrument so if you pull an effect into the drum rack sample here in like here instead of outside here this effect will only apply to this uh slice or this pad drum pad not to any other slice less shaper box here is doing this is adding noise shaper it's adding this little noise on top there's tons of different noises and noise shaper to add texture on top of your sounds so every time the kick hits the noise just follows the amplitude of that kick right if I were to mute this adds a bit more texture and oomph when that kick hits a few more pieces to this drum hit at the very end of the phrase they have an open hi-hat just a very simple thing here and then after the first eight bars they also include this little Shuffle just like two hits here so it goes like this every second bar on this section has this it's a little Shuffle so what I did was I took a loop from the hybrid brakes sample pack and I just used uh one Shuffle so I muted all the other hits like this and then play it together with the drums it's just nice when you add this into the arrangement eight bars later it adds a bit of variation to the drums I also had a bit of a ride symbol at the beginning of every four bars and that's pretty much it for the drums all right next we're going to talk about the main lead in the intro and this sound is a very popular sound in drum and bass I think it started getting popular around 2009 a lot of um dance floor and even liquid drum and bass producers were using the sound essentially it's two Sawtooth waveforms so we have one Sawtooth here playing the root note and then we have an additional Sawtooth on top so oscillator B the only difference is playing Seven semitones are perfect fifth on top of the root so we have this at plus seven here foreign traditional the Drummond base add the plus seven and then to get that kind of wobble effect I'm using an LFO what I'm doing is I'm modulating the filter cut off we're using a low pass filter uh which cuts off the lows right so when you burn a cut off down you cut off all the highs and then you sign LFO one to the cutoff then you have this and you can adjust the taste the rate of the LFO is at 1 8 dotted also very common rate in drum and bass just make sure trigger mode is on so every time you hit the LFO it starts at the beginning of course you can explore other raids you can use a simple quarter note or eighth note you can even play the triplets I think 1A thought it just sounds really good with this track and what you want to do is you want to add some effects so I add some Distortion to push the sound a little more also what I'm doing is I'm applying the same LFO to the drive of the Distortion so you can see it's pushing it every time the lfl goes up just has a bit more on and I'm adding hyper Dimension to make it sound a little more three-dimensional and then a bit of Reverb and that's the basis of this lead and here's the melody of the main lead so to create the build up what they're doing is they're modulating the cut off to slowly increase the full intensity to do that in serum and Ableton just make sure you hit the configure button on the serum panel on the bottom left and if you don't see the filter cut off here just click on the knob once and it should pop up here and now you see filter cut off which is now it's available when you click on the automation mode on the top right here and you just click on this line here will represent the filter cut off and you can see I have a line going up so we can check it so that's pretty much the main lead and next we're going to move on to the main wall bass sound all right so to create that made what bass sound at the drop what I did was I took my whop dominate preset from my gnarly serum preset pack and made some alterations essentially it sounds very similar so I thought it'd be right really easy just to recreate it from this preset so here's the original one dominate preset now I know you want to know how I made it from scratch so we'll go through every sound to show you how we ended up with the paradon what base essentially that walk dominate preset consisted of this mini base wave table [Music] now just using LFO is set at a quarter note so that place nice and short for those short wob sounds it goes up and down it starts at about a medium high volume up to Max so it goes so you get a bit of punctuation and then I'm adding another oscillator on top once again we're playing the perfect fifth so it's seven semitones up the only difference is we're pushing it up an octave so instead of this it's up here and then we want this top harmonic to sound really wide and thick so I increased the Unison mode up to six so that sounds nice and wide and finally I use some FM modulation so on oscillator a I'm setting FM from B so this oscillator is actually modulating doing FM modulation to a so it gives a Grady sound once you increase the modulation amount watch this notice how it sounds nice and gritty up is I applied a German low pass filter the German low pass filter just has a different sound to it uh has a very characteristic result to it so I just like using it for this result and we're just bringing the cutoff all the way down to about 11 o'clock once again that same LFO is adjusting the cutoff just a little bit so there's some movement so it goes following this line whoop down also good to mention that oscillator B's volume is also being modulated by LFO ones so all of all three things the level of a the level of B and the cutoff are being modulated by the shape finally this is main sound to really get at the sound what it is it really takes adding some effects so we added a bunch of distortion this time I'm using X shaper for this specific sound it just has a different more I guess softer kind of distortion to it so let's turn it on and once again I'm modulating the drive I'm not using lfo1 so for some movement and then adding a bit of EQ to bring up some of the upper mids and then I actually apply another filter on top just to shave it down a bit now I'm using a more soft low pass filter so these numbers refer to the slope of your low pass filter so at low six is a more gentle slope so it doesn't sound as harsh when you filter it it just rounds the sound out you may want to add quite a bit of Reverb to the sound to make it sound a lot more I guess uh gnarly and kind of bring some Randomness to it you can add a bit of chorus effect to it just make sure the feedback is up around level Claude to death is around two o'clock that just increases the intensity of the chorus effect and you want to play experiment with the delay amounts that's essentially a chorus is multipliers of the signal that's being delayed by milliseconds so this is delayed by three milliseconds this is by four creates a chorus effects because they're playing a bit off from each other [Music] if you want it to sound even gnarly at the very beginning of the chain so the order of these effects matter because they have been I believe in cereal so your Distortion feeds into the EQ which feeds into the filter so one thing I learned recently if you put Hyperdimension or chorus right before the Distortion you get some really interesting effects so here's the before and after you can play with the mix notice how it adds a bit of thickness and Randomness to the sound now if you put up after the Distortion it sounds like that so find it sounds a bit fatter when you put it right before the Distortion and that's sounding good now they use this as a mid base it actually doesn't play the sub bass so what you want to do is a filter off the low end from this sound so using the same EQ we can click this uh High Pass button here it filtered around 2 100 Hertz I'll run even 160 is good you know just want to get rid of the bottom end and that's pretty much the sound so here's the pattern for the pattern what base [Music] foreign funky pattern and notice that there's a bit of variation the second phrase here has a bit of space in between the gloves it just makes it sound a little more staccato on a second iteration and then this third iteration they lower down to the D sharp going up to F sharp so it adds a bit of a I guess chord progression to the entire sequence now finally for some extra sauce after all the effects I did add additional Distortion so I brought in Rift using the growl and the positive polarity of the Distortion shape and then the soft shape I've moved it up to around one o'clock here it drives about 1 DB just adds a bit of oomph to the base so before and after a bit more grit with a wrist all right the main sub bass is quite simple I'm using a sine wave here and then I added an additional oscillator on top this time I'm just playing the same root note no plus seven this time I'm using Crush swab which is one of my favorite uh wave tables and serum it just has this really kind of nasal gnarly sound to it I'll play to it on its own you can play with the wave table position [Music] see it has that nasal sound I just think it adds a bit more texture to the sub base instead of just playing the sub bass on its own adding back the sine wave and then apply a low pass filter just to shave it off and then additionally add some Distortion for some oomph just make sure you have a bit of the original signal so adjust the dry wet mix accordingly until it sounds nice the sub bass pattern pretty much follows the what base the only difference is that what base comes in on the second beat so there's a gap on the very first beat whereas the sub hits right at the one so you get this nice oomph or Nice head of sub bass before those wobs come in so we have this [Music] and play together with the what base foreign now there's also a base change up after eight bars and the bass is playing an octave up now to replicate this instead of just playing at an octave up I found it made more sense to go into the serum patch and actually move oscillator B up by one octave and then I played with the envelopes a little more because it sounded like that high no kind of decayed a bit longer so it made sense to do it this way as opposed to just playing an octave up adjusting and fine-tuning the sound until it sounds like that uh higher phrase [Music] all right other sounds in the truck I noticed in the intro and then later in the main body of the track there's kind of this vocal pad lead in the background what I did to recreate this is I found a wailing uh male vocal sample from splice so instead of playing a sample as is I pulled it into Ableton sampler and I'm just looping a small section of this vocal Loop so that we can use it to play our own Melody so to do this you just enable the loop mode under sustain mode here and then you select a section you want to Loop now it's important that you add a bit of cross fading between the start and end point of the loop this will remove any clicking when it connects the end to the start so increase the Crossfade parameter to taste now it's sounding smooth and here's the vocal pad Melody that's found in the background it's really tucked in the mix but you can listen carefully on body done and you should notice it [Music] now to make this sequence sound a bit smoother and more like how a vocal it actually Express itself I'm going to connect these two notes together using a note Glide so instead of having two distorted notes they become one full sound so to do this we're going to extend this note all the way to end and then enable note expression on the bottom left panel and then just make sure you have this note highlighted otherwise you won't see this panel just if you don't see it just click on this note and then we're going to add a DOT here and then a DOT here and at this second dot we're going to raise it up to the B okay so we have this note as a placeholder so we can see where we need to go up to and then you can adjust the slope to taste I'm just going to remove this note by going back into the notes panel enabling that part and then removing this note now we can go back to note expression to view what we have [Music] and you can adjust to taste [Music] super fun way to create note Glides and keeps us sounding smooth and organic now to make this a bit better I'm going to add a filter so I'm going to remove some bottom and the top end to the pad and then I'm going to drown out tons of Reverb [Applause] now there's one last sound during the intro and also in the second part of the main body it almost sounds like a race step I didn't really get this down exactly to how it sounds like in body done so I'm going to not go into too much detail in this sound basically I'm using a Sawtooth that's a Unison mode of six and adding a bit of filtering some Distortion and some hyper Dimension and this is the step I also added a bit of course using uh kilohertz chorus effect the melody there is there but it's just not the right sound if you guys know exactly how to make that sound comment down below now for the Finishing Touch unfortunately I'm not a UK rapper but I'm gonna attempt to record myself doing the vocal drum let's see how it goes but from there luckily with the Advent of AI we can take our voice and replicate any of our favorite celebrity voices so I'm gonna do is try a couple of these let's go over to Travis Scott all you had to do is drop into recording into the platform by using La lao's AI voice but there's tons of them just Google AI voice generator and then it will convert your voice to your favorite celebrity that sounding pretty good all right now that we have all the main sounds laid out for about let's put it into a little Arrangements here so I just have a basic arrangement of the track of 16 Bar intro where we have the main lead [Music] I just have a sub bass under that main lead [Music] and then we have two 16 Bar sections for the main drop where you have this section here and at the very start of the eight bars there's a pause with the higher bass sound over here and then you drop into the second part here [Music] and finally there's the transition between the intro and the main drop where it builds up and into a little drum break and into the vocal as mentioned earlier we have the break from hybrid breaks as a little switch up and then into the Travis Scott vocals all right now that we have all the sounds let's hear the track and fall oh [Music] I didn't burn it down body down but from me [Music] foreign [Music] [Applause] [Music] [Applause] oh yeah shuts up the boot and chasing status for making such a masterpiece I hope you enjoyed watching me recreate Chase's status and boo Smash Hit bought it on first we dived into the sound design techniques to help you make some really impactful bass sounds and let's not forget the power of a strong hook simple but yet robust hooks can be the heartbeat of a track giving it a memorable signature that people can vibe to it's not always about complexity sometimes it's the simplest themes that make a strong impact it's all about finding that perfect balance and hopefully this video helped if you want to learn more about some of the packs that I use today such as the hybrid brace sample pack or the gnarly serum preset pack you can check out deviantudio.com where we have a number of sample packs preset packs and Ableton gets to help you along your journey you can find more down to the links below finally my name is stranger if you want to improve your music production dance music this channel is for you make sure you hit the like button and subscribe to my channel to see more videos like these if you want to see me recreate Dylan just hard noise check this video up here if you want to see more jungle tutorials check this playlist up here alright that's it guys until the next video Stay creative peace out

Channel: STRANJAH

Views: 35,527

Keywords: baddadan, baddadan tutorial, chase and status, chase status tutorial, bou dnb tutorial, bou dnb, ableton dnb tutorial, fl studio dnb tutorial, ableton jungle, serum bass tutorial, vital bass tutorial, dnb tutorial, beginners music production tutorial, beginners music production tips

Id: sjVkofT4LII

Length: 23min 1sec (1381 seconds)

Published: Thu Sep 28 2023