Hello, this is bunting.

And today I have for you not the tutorial you wanted, but the tutorial you needed.

I’m talking about bass music arrangement.

So we have this drop.

But how the heck do we make that a three-minute song?

Well, I’ll tell you how, but not before telling you I have a free sample pack for you.

On my website.

It’s amazing.

Look at it, it’s beautiful.

It’s just beautiful.

Look at this one case sample pack. The link is in the description.

It has all types of stuff in it for you to enjoy five of each thing.

10 bases though, because I’m just that nice to you guys.

But yeah, plenty of stuff in there, like, yeah, and in there, you notice I have an Ableton template, which brings us back to our video, which, you know, I have a template for you guys to fill in to get your arrangement on point. You know, just go to each section and fill it in.

I know that really helped me out when I was first starting out.

But while I have you here, you can just skip ahead if you really don’t want to watch this.

But I have other stuff to like, see, like I have some fatty drums.

If I actually go back to the right page, I have some fatty drums, I have some lovely roads for you, and a whole vital pack of 50 sounds.

I’ve got a bunch of bass racks, a bunch of mix racks, a bunch of effect racks.

And you could just buy them all together if you really want to know why the pictures aren’t showing up.

But yeah, I have plenty of stuff for you to buy.

And you can even book a lesson with me.

Finally, you know, like you can go through the whole schedule thing.

And it’s amazing.

It’s got a calendar and everything is just amazing.

But yeah, if I didn’t bore you enough, you probably skipped past this.

It would support your support for your boy.

And basically, there are some nice ass samples here.

Like, let me show you.

I mean, these drums right here are all from my pack.

Yeah, and a lot of other stuff, which I’ll show you later.

But anyways, back to the video. I wasted two minutes of your life.

So the first thing first is, how about we take our drop and kind of extract an intro from it? You know what I’m saying?

We’re gon na just extract the juices from it.

And by the juices, I mean the harmonies and melodies, right.

So ignoring this, we have a kind of bounce, bounce now you know.

And then it goes back down.

So, based on this progression that I just kind of thought up for my drop, I can kind of turn that into a progression for our beginning.

So right here, just keep things simple.

You can write your chords out, but I’m just going to use this pad from my lovely sample pack.

Oh my gosh.


So first, we have our note on E, which is the same note as our base note where we like to resolve.

And we know that it’s an E, right?

So we built a progression.

And basically, this is a very simple progression, but it gets the job done.

Not a traditional one.

And because it’s any, we can use the E scale to start embellishing what we just made there.

So right here, how about I actually just use something?

Let’s get vital here.

And I’ll get a little melody going to demonstrate.

Now for your intros, you really don’t need a whole lot going on.

A lot of the time, I just have some type of melody, maybe some drums.

And how about I just go in here and design a nice little sound?

Or I can just get one from my preset pack.

Oh my gosh, I’m a sellout now.

Let’s get the keys.

Silo sure.

For this, just a plucky sound is great.

Add a bit of delay to fill it up.

Fill up even more, like I was saying, I like to add arpeggios a lot of the time.

So I’m gon na actually show you how to record. You just count out 1231234, just drag that out.

And then, because it’s the same chord as a half step up, I wanted to do just that.

For our second quarter.

Just move it up a half step and let’s expand it out and just duplicate it over and over and over again.

And then add able tins, lovely arpeggiator.

Oops, okay.

Make it faster make it go up two octaves.

I’m just gon na initialize this, like no sound from it.

To make it look, how about a filter to make it a little more dynamic?


Now see this is nice and filled up, but it’s just missing something. You know, it’s not a very strong introduction.

So for that, I have no other button impact grabbing impact from my sample pack.

I like that one.

And if we want some extra kind of movement, some suspense movement, some more introduction, asset filters, I do this a whole lot, plenty of artists do.

That’s just automating the frequency over time.

Or if you want, let’s say I just want the melody to pass in.

See, and it sounds like it has not quite filled up yet, I would say.

So for that.

All I’m going to do is duplicate this again.

Right, remove our top notes, move the arpeggiator and we’re going to make a base out of the sound here.

So let’s just initialize your patch, right to bass range, add some detune, add another voice. I’m really just thinking about what I want to hear in my head, but you can pretty much use this formula in both your tracks.

So how about on top? I get like a little percussion loop extra movement. You can even hide past this one and you can have a blowhole going on top.

Right, so that’s a start.

So you can really experiment with filling in different things for your start. You know, really get creative, add a bunch of different elements, you can layer your impacts, get multiple impacts going at once, you know, fill in more. Feel free to add more layers, especially like effect layers. You know, maybe some textures, throwing a texture here, which I know I love to do.

Just throw in a random texture.

How would I just go and hear them? They’re about the grainy textures.

Okay, and I threw something somewhere and I’m never going to get it back.

But yeah, just straight rip from my track by the way.

Through this to make these kinds of sounds. You can see that in my ticker tutorial.

A bunch of percussion sounds just like spam.

You see right about there.

If you were listening closely, you would hear that’s where we need a little something to introduce itself.

So just for that, all we really need is some drums to kick in.

Topping our drums, drums or drops, gets the job done.

And while you’re at it, you might as well add another melodic element, because why not?

You know, you don’t want to overwhelm it, but I don’t know. I was about to say you’d rather have too much than too little, but that’s definitely not the case.

It’s all about hitting that happy medium.

For this.

I’m going to use it. This will be more familiar, as opposed to a plot.

And how about I get kind of a whistle Lee lean using just a triangle with a bit of attack and glide?

Right now we’re moving into our lovely build up.

So start, just introduce your elements, mess with your filters, if you’re into that, you know have plenty of impacts. Ranchos are really about setting the mood more than anything.

So experiment with different samples, different sounds that kind of match the vibe you want to go for in the track.

Also, just have a general theme in your head as to what this track wants to do. You know, I think barely alive says that, like, they like to imagine their tracks in a room or as a place.

Why would this place look like what it sounds like and build off of that?

And that’s a great creative exercise, you know, but on top of that, be sure to keep interest. I hear a lot of people going for a full 20 seconds in their songs.

without introducing any new elements.

I tried to like overcompensate for that to the point where, like, even like four bars right here, like one to five bars, I’m already introducing a new element.

Maybe not as dramatic as every eight bars, but something just keeps the listeners here.

Also, this lead sounds kind of stale.

Now for the building.

So, intro developing ideas from the start and whatnot. For the building, you know, traditional building stuff, get your white noise riser.

How about I just throw that in here, just to get it out of the way, riser?

Just whatever, riser.

Sure, the riser goes right there.

I also like to have a little break at the end, which just adds to the suspense.

So, for example, I may just cut off everything right before the drop and leave at least room for your drop pokel.

If you’re going to have that, you know, it can be hype if you do that.

It’s very, very popular for a reason.

You know, just really add to that and throw in your dropped vocals.

Let’s just get a random drop.

Whoa, cool.

All right.

Hank Hill, I’m on the bus.

I’m about to bust.


So my favorite trick, beyond having just a bunch of risers and whatnot, is more interesting than a riser.

How about, like, Where’s the riser?

Sure, this is a cool riser.

Okay, risers out of the way.

Okay, my favorite trick time, right?

Pretty much just take your bases in your drop, or at least one of them right.

And you want them all grouped together, right? Whenever many bases you use, you definitely don’t need to use all of them.

But I would highly recommend using the main base.

This is the teaser base effect.

You’ll hear it a lot.

And if you’re having a hard time transitioning your drop into your build, this is a great way to do it.

Here that suspense building.

slowly coming in.

subtly, but definitely.

It’s definitely creeping in, to say the least, and I got to turn off.

Okay, nevermind.

It’s already off.

But um, but I freeze a track.


But basically, you just want to add tension to your drop.

So, beyond the risers and drums and all that jazz, you can mess with the harmony as well.

So I just showed you this bass teaser trick which is great for teasing your bass is pretty self explanatory.

But you see how There’s already a lot of tension in the harmony.

But to add even more tension, I can just say, you know, fuck it and just repeat kind of one harmonic section or even repeat the melody.

Another way to add tension is to switch up your drums.

So let’s stop the groove for a minute, like hold up the groove. Something’s happened, and there’s a development going on around our drums.

Also, also important, make sure you turn off your reverb for your drop.

How about I put this a little further up here.

So, on top of that, we can have our risers hit.

So we can just, I mean, really just do what you feel here.

Because I’m sure you can hear how you want your build up to sound like where you want the snares hitting.

But one thing to be noted is that a lot of times when freeform bass stuff, they don’t have a traditional build up like this, at times, they even just straight drop it into the drop, which is a little harder to execute, and has a little less tension building.

But it can hit so hard.

So right here, our snares and more tension.

Pitch shifting is always Excellent.

So I’m just gon na have it rise up here.


And you could do that with your sense, too.

So how about I just take this Rhys and turn it into a riser?

You know, synthesizers aren’t anything crazy.

It’s usually just basic shapes, a lot of the time being pitch bent.

Another great thing is the washout rack. It is very cool.

This is pretty much just playing with reverb delay and filter all at the same time.

This adds to that kind of filter movement I was talking about earlier.

So by cutting out, it adds a kind of lift off, especially in combination with, and it’s groovy and awesome.

Now for your drop, I’m just going to straight duplicate this because you want it to be 16 bars, not just eight bars. You know, even if you think it’s boring, you can’t think of variation.

It’s better to repeat it for the full 16 bars rather than just a bar is not a stone.

Because that’s just what people expect.

It’s what DJs expect if they’re going to be mixing your track.

Hopefully they will be because it’s a banger, it’s a slapper now that you know, these tricks and it’s mixable, and beautiful, right, be sure to add a little variation so so like, here we go, it goes from like to I just automated the FM parameter you know, and you could do the same thing maybe just like go in here turn off the freaking You know, it really just has to be slight variation and like the scent or the processing and you get a nice variation or you can just switch up the whole riff completely you know, and have a good time with it.

Okay, but as for the second build, that’s your drop. You definitely want to hit 16 bars, no more, no less. I would say, you know, you can start experimenting with the arrangement if you really have an idea of what you want, especially as you get more experience, but for now, I highly recommend you just stick with the template.

It makes it a lot easier to just finish songs in general, because once you just see, okay, here’s my drop.

And here’s what I need to fill in.

It’s pretty formulaic honestly, and you can crank out a lot of bangers just by copying the build. They can really get away with ignoring that.

Copy or second drop drops.

You know, add a kid saying hey, or something.

Where, where is it?

This works for some more variation. You can even add your own melodic elements into it.

You know, it’s not rocket science to add some variation to drops and make them develop over time. Really just experiment, see what you can get away with, see what you can do, and as you progress, you’ll become much more intuitive.

That’s just how all this stuff works.

But back to the second building. Okay, nevermind, back to this building, because I’m going everywhere.

For the second drop, I really just kept keeping these first main hits, you know, but I decided to switch out what’s in the middle. You know, nothing crazy, just a slightly different sound design.

Just out of the Redux.

I made it wobble.

Volume automation.

It’s a reasonable second drop, not my favorite. I’ll probably go in and add more to it or add, like, what will be on?

Well, when we’re on, you know how to do a bunch of other stuff instead of keeping the same flow the whole time.

But yeah, on this building either way, you see, it gets away with just being a copy and pasting things.

But if you want, at times, I just straight up change our instrumentation completely, you can get a completely different riser.

You know, it would be nice if you could keep the same chord progression, but kind of change the instrument instrumentation.

So for that, you can even just go in and, let’s say, turn up an octave, make it like a different different vibe completely.

Of course, an impact too, because we can never get enough impacts here.

makes it sound much more complete.

All the experimenting that you could do with your intro and build starts here. You can reapply here. Definitely keep some threads common. Definitely like the chord progression or like a melody or just something to keep in common with the rest of the build.

But yeah, as you can tell, you can easily get away with just repeating it, but who likes that? We want something more interesting, but even if it’s a mediocre breakdown, I like to keep my break down short notice pretty short. Some people do the whole thing, but even if it’s a mediocre break down, your neck drop is coming right away.

And that’s much more important.

To make it a banger.

You know, add your little variations halfway through.

Like every eight bars for that matter, you can get your vibes going.

And for your outro, just a second intro dummy. It’s that easy.

This is the laziest way ever to do it.

See how it works like it just goes in here.

I definitely want to add an impact and make it a little less jarring.

You can also add a riser on to anything advanced, but you can be much more subtle and much more creative with the message with just the basics.

You know, of course, this is available for free download.

Link in the description and all that jazz.

You know the deal. And you could really end it just like this.

Or you can just say something like, and how about I just take this and resolve it?

Come on, let me let me just resolve it.

And I’m dying.

It’s official.

It’s really happening this time.

Okay, there we go.

That’s really what I could explain more in depth.

But really, the rest is up to you.

This is your general structure. Fill it in with some nice harmony stuff.

And what was that like 25 minutes to drop into full song?

It’s crazy.

Like this is listenable, but obviously adds way more variations in the end.

You know the deal and you know what to avoid saying, like in the description of my new website, you can buy my sample pack to support your boy and support yourself by getting some freakin gnarly sound presets.

All that jazz.

You know the deal.

Check it out.

But anyway, be sure to join the discord.

You know the deal.

As usual, leave a comment if you have any questions or suggestions for future videos.

Leave a like if you like it.

I hope you liked it. I hope you did a little differently than usual for a little longer, but hey, it should help you.

It better help you around, so I am doing this anyway. Subscribe.

That’s it.

Peace out.

This is Bob.

Thanks for your support, guys.

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