Music Production Knowledge Backlog

Calculate all-pass delay times for smooth reverb tails. Pick a preset for plate, hall, shimmer, or metallic reverb, set the first and last delay in ms, and the calculator spaces each diffuser stage to avoid clustering and comb filtering.

So in this patch I tried to recreate animals or like a meadow vibe. Basically I’m building a little stream, a bunch of bees and birds, some distant car noises, and of course crickets chirping and stuff.

Gotta admit, I kinda lost control here. Some modules don’t really make sense, and in a few spots I’ve got no clue what’s going on.

Polarity SC overview covering spectral ducking, resonance suppression, freeze, and IR export, with free cross-platform download and practical mix uses.

Alright, here I made another static pad using multiple sine oscillators. of course, everything’s heavily modulated. The rest are sound effects that play sporadically and based on chance.

Polarity MD update adds a native GUI, linear-phase crossovers, per-band clip thresholds, and better scaling for faster, clearer multiband compression.

Learn how to build complex ambient generator patches in Bitwig Grid by layering small modules for raindrops, wind, harmony, and reverb.

I took the old idea from the previous video and pushed it a bit further. The raindrops and wind sounds create a really nice vibe, and they’re made entirely from noise and filter movements, they actually make up most of the patch. The rest I filled out with some drones and a random noise generator.

Rainy city at night! This time I’m using different oscillators again for pads & lead sounds. On top of that there’s a lot of generated synth rain with droplets and noise.

Learn how to build a random percussion generator in Bitwig Studio using Poly Grid, dice modules, envelopes, noise, and simple modulation techniques.

Many all-pass delays create maximum reverb on all sounds. This should create a nice atmosphere with some random sounds. The Markov Generator creates notes in specific sequences, and this is used for a sine bleep.

Learn how to create unique ambient shimmer reverbs in Bitwig Studio 6 using Delay+ and Blur devices, combining modulation, feedback, and creative chains.

I tried to use as few sound sources as possible for the pad and relied mainly on all-pass filters to stretch the sound and make it behave like a pad, even though it’s just a sine bleep every few seconds.

Bitwig Studio 6 introduced global and per-lane automation lock and follow features, improved automation clip handling, and added clearer lane information, making workflow more intuitive. New updates since the first beta include flying automation lanes for quick editing, overdub and free-time automation options, tighter automation smoothing for sound design, and enhancements to device modulation and note echo behavior. Additional improvements like better touch support, new controller integrations, and performance optimizations further polish the user experience, making Bitwig 6 a solid and modern DAW choice.

In this generative preset, I create pad sounds using an arpeggiator that I smear with a lot of Alpha delays, so it sounds like a pad even though it’s really just an arpeggiator.

Clicking or crackling sounds in synthesizers occur when waveforms are abruptly restarted at non-zero crossings, causing sudden jumps in speaker movement. These artifacts can be prevented by restarting oscillators at zero crossings, adding short fades using amplitude envelopes, or by using voice allocation techniques like digimono or polyphonic modes to allow smooth fades between notes. In monophonic setups, introducing delayed retriggering or precise envelope shaping ensures smooth transitions and eliminates unwanted clicks and pops.