Music Production Knowledge Backlog

In this video, I demonstrate how to use the cycles mode in Bitwig's sampler to create bass sounds from random noise samples. By manipulating the harmonics and overtones, I show how to create rich and unique bass tones. I also explore different techniques such as using the sampler or the grid, applying effects like distortion and filtering, and experimenting with modulation to create diverse bass sounds.

Yo folks. In this video, I start from zero and create an ambient piece on the fly. No prepared loops, no prepared samples. Just some perc sounds from the Digitakt, but that's it.

In this video, I demonstrate how to generate tonal sounds from random noise using the Cycles mode in my sampler. By manipulating the grain size and key tracking, I can create different pitches and waveforms. This technique allows for easy and flexible sound design, making it perfect for creating ambient pads and other tonal sounds.

Sure! In this video, I explored how to utilize voice stacking in Bitwig to create complex modulations and sounds. By extracting values from different voice stacks and cross-modulating them, I demonstrated how to achieve interesting and unique sonic results. Although it may not be the most practical approach, the possibilities for experimentation and creativity are vast.

Here are 4 more tracks from my vault that finally made it to completion. You can hear me trying to bridge the gap between ambient and drum and bass without making it too chill. It's deep and groovy, which is probably how I like it best.

I successfully rebuilt the Driv sequencer from Ableton Live inside Bitwig Studio. I demonstrated how to use the Grid to create four different play heads with varying playback speeds and directions. I also explained how to route each play head to separate MIDI channels for recording.

In this video, I show how to recreate AU5's Ultra Comp filter in Bitwig Studio for the Bitwig Reddit community. Using a combination of All-Pass filters and signal blending, I demonstrate how to achieve the spectral filtering sound and moiré pattern seen in AU5's video. Additionally, I provide an alternative method using Bitwig Studio's frequency split feature, which offers a more straightforward and CPU-friendly approach to creating different types of filters.

In this video, I demonstrate how to create a random note generator using the Polymer synthesizer in Bitwig Studio. I use the Node Grid and the Dice module to generate random nodes, and the Triggers module to create eight equally spaced triggers within one bar. I then use the Shift register to record and modify the generated sequence, allowing for variations and alterations in the playback.

In this video, I explain how the Barry Kai Bitwig theme editor works and provide a disclaimer that using it is at your own risk. I showcase the steps to download and use the theme editor, including exporting and editing the theme JSON file. I also mention the Bitwig Discord and theming subforum as valuable resources for assistance and share the possibility of customizing Bitwig Studio's colors using community-made themes.

In this video, I introduced my Markov Chains preset, which is a melody generator based on probabilities. I explained how it works and how I coded it using information from the Hook Theory website. I demonstrated how to create an ambient drone sound using the preset and additional modulations and effects.

In this video, I explore creating new sounds using the Bitwig Grid. I start by sampling different instruments and then manipulate the samples using various modules such as triggers, quantizers, and modulation. The result is a unique and atmospheric ambient sound that can be further customized and experimented with.

In this video, I demonstrate a workaround in Bitwig Studio 5.2 to achieve volume normalization for instrument tracks and live audio. By misusing the wet gain learn feature on a chain device and using a tool device to measure the input volume, I create a preset that matches the output volume to a desired reference value. This allows for easy normalization without manual adjustments and can be applied to multiple tracks for consistency.

In this video, I explain how to use the grid in Bitwig Studio to calculate release time for a compressor based on beats instead of milliseconds. I show how to convert a ramp signal into a sound, measure the pitch using zero crossings, and then convert it to hertz and milliseconds. Although it's a hacky approach, it's a fun challenge and allows for time-based calculations in the grid.

In the video, I talk about zPlane's new plugin called Peel Stems, which is an updated version of their previous plugin, Peel. It allows you to separate stems in real-time or adjust their volume using the drums, bass, vocals, and other knobs. I demonstrate its effectiveness by showcasing examples with various tracks, highlighting its ability to separate stems even in heavily processed and compressed masters.

In this video, I explain how I use filters and filter key tracking in my synthesizer sound design. I demonstrate how filters can be used to remove or amplify specific harmonics in a sound, targeting frequencies like the first and second harmonics to enhance bass presence. I also show how key tracking allows filters to follow the frequency of different notes, making the filtering process more precise.

In this video, I focus on the sequencer part of the Triaz plugin by Wave Alchemy. By using the note grid in Bitwig, I demonstrate how to create polymetric drum sequences with individual lanes and adjustable loop lengths. I also showcase techniques like changing the gate length, velocity, and implementing retrigger features using modules like Trigger, Latch, and Shift.