Music Production Knowledge Backlog

In this video, I discuss my thoughts on the granular engine in the synth and how I miss having a record button. I demonstrate how I use my vocals recorded in a DAW to create a pad sound, adjusting the pitch and experimenting with various settings. I also showcase the use of wave tables, a morphing filter, LFOs, and effects like reverb and delay to create a textured and evolving sound.

In this video, I demonstrated how to make improvements to our small plug data sampler. I showed how to utilize symbols and send/receive objects to simplify the patch, as well as addressed bugs and added a solution to the clicking problem when writing and reading from the same array. Additionally, I explained how to convert the length of the buffer from seconds to milliseconds and sync it with the host's BPM using the playhead object.

In this video, I introduce a new plugin called Current by Minimal Audio which combines various features that musicians love. The plugin includes wavetable oscillators, a granular engine, sub oscillator with harmonics, a sampler, and a range of filters. Additionally, the plugin offers modulation sources, keyboard controls, macro controls, and an impressive effect section.

In today's video, I explain the Formant module in Bitwig Studio. The module amplifies the incoming signal around 0.5, allowing for modifications to waveforms. It can be used to create wobble bass sounds, shape waveforms, and add vocal qualities to signals.

In this video, I demonstrate my process for creating ambient sounds and tracks using the Synplant synthesizer. I start by exploring different sounds and using the randomize feature to find new ones. I then adjust the envelopes and effects, and also incorporate Supermassive and Paul Stretch for added texture and ambiance.

In this video, I introduce the latest version (0.8) of Plug Data, a tool for creating VST and CLAP plugins from Pure Data patches. I demonstrate how to export a Pure Data patch as a VST plugin using the new feature in version 0.8. Although GUI elements cannot be exported with the plugin, this method offers a straightforward and free way to create native plugins using Pure Data.

In today's video, I show you how to create a music track in Bitwig Studio. I start off by using various modules and sequencers to generate a melodic sequence. Then, I add convolution and delay effects to create depth and ambiance. Finally, I layer in drums and bass, apply sidechain and modulation, and add some additional melodies to complete the track.

In my latest video, I discuss SynPlant 2, a groundbreaking synthesizer with the new GenoPatch feature that uses machine learning to create FM patches from samples. This feature allows users to generate multiple FM patches from a single sample, with options to adjust tuning, volume, and grow out different sound variations. I believe this is a game-changing innovation in the world of synthesizers and hope to see other synths incorporate similar features in the future.

In this video, I demonstrate how to create a quick generative patch using Bitwig. Starting with a simple setup, I gradually make it more complex over time, showing easy steps for everyone to follow. By utilizing modules like the polygrid and counter, you can create unique melodies and rhythms, and further modulate them to add variation and interest to your patches.

In yesterday's video, I showed how to connect TouchDesigner and Bitwig Studio using TD Bitwig, but many viewers were more interested in creating visuals in Bitwig. So in today's video, I demonstrate how to create generative visuals in TouchDesigner and synchronize them with music in Bitwig using TD Bitwig. I explain the steps to create a noise texture, mix layers, map audio envelopes to visuals, and use macros and remotes to modulate parameters for an interactive and visually appealing experience.

In this video, I explore interesting sound ideas by using various techniques. I start with a simple sine oscillator setup and then incorporate feedback and phase modulation to create inharmonic overtones. I demonstrate how tools like pitch mapping, filtering, and sampling can be used creatively to manipulate and design unique sounds.

In this video, I discuss the topic of using the transit plugin in Bitwig Studio and whether it is worth it. While some may find the presets of the plugin useful, I personally find that I can easily replicate the effects and transitions using Bitwig Studio's modulation capabilities. I explain how to create similar effects within Bitwig Studio, showcasing the flexibility and potential of the software.

In today's video, I show how to create a multi-band delay effect using the polymer synthesizer as input. I demonstrate how to use the FXgrid, filters, and a mod delay to create the effect. I also implement macros for resonance, feedback, and filter cutoff. To make changing the delay timings easier, I use a step mode interface. I explain the logic behind it and how to map it to each delay. I discuss the limitations of the grid for creating interface controls and the need for better interfaces. I give examples of how the effect sounds and suggest adding a convolution reverb. I also mention the possibility of using pitch quantization and panning for more control. Overall, it's a creative way to achieve a multi-band delay effect with a flexible interface.

In this video, I continued working on my sampler or looping station patch inside Plug Data. I made some improvements to make it more dynamic and turned it into a plugin-like interface. First, I addressed the issue of fixed numbers by using the sample rate module to get the current sample rate of the DAW. This allows the patch to adapt to different sample rates. I also used a dynamic variable for the buffer size by using the send and resize commands. This way, the buffer size can be changed based on the desired length of audio to be recorded. Next, I made the fade out delay time dynamic by subtracting 200 milliseconds from the buffer length. I also added a feedback feature to create a decaying audio signal.

In this video, I'm going to show you my setup for synthesizing snare and rimshot sounds using the pulley grid in my DAW. I use the pulse oscillator because it already has a lot of overtones, so I don't need to use as much post-effects distortion. I set the frequency to around 150-160 Hz for a deep snare sound. I use an AD envelope to trigger the sound and apply an EQ5 in the PostFX to analyze and shape the signal. By adjusting the sync, I can create two partials or amplify the second harmonic. I add a Moog low pass filter and use the shape output of the AD envelope for frequency modulation. This creates a nice snare sound. I also add some noise using a noise burst and a mixer. I shape the noise with segments and use a high pass filter. I then apply a hard clip and use dither and diffusion for added spice. The EQ is crucial for shaping the sound, and by cutting below 1k and boosting around 1k, I can create a rimshot sound. I can also tweak the settings to create deep snare sounds. I can detune the oscillator slightly for a wider sound. Overall, there are many possibilities for customization using these knobs and EQs. I can also add pitch modulation if desired. Finally, I can apply a convolution effect to add roominess to the sound. This setup is great for drum and bass, dubstep, and other genres, providing a clean and focused sound.

In this video, I demonstrate how to use Pure Data as a plugin inside Bitwig. I explain the process of recording and sampling audio into an array, manipulating the playback speed, and adding fade-in and fade-out effects. By understanding these techniques, viewers can explore creating their own plugins or prototype their own audio projects.