Music Production Knowledge Backlog

Some stepic sequences and a bit of Bitwig and lots of reverb. Also my rain preset on top for some ambience. my main channel, ...

In this video, I show how to create a sweep or riser from scratch using the face module in the Bitwig Grid. The face signal is perfectly synchronized with the BPM and allows for easy modulation of volume and other parameters. I also demonstrate how to use the trigger and dice modules to generate different sounds on the fly, as well as how to use a gate signal to make the riser playable as a clip. Finally, I discuss the ability to use different face tools and effects to customize and create unique risers.

In this episode of Rack from Scratch, I started with creating a drone using a piano note with a sustain pedal enabled and adding a cluster delay plugin. I recorded the root note and fifth and used a pause stretch plugin to stretch it out. Then, I added a synthesized sound using the grid tool. I incorporated a filter and created a monophonic bass line melody. I went on to add a rim shot and hi-hats, layering a top sound for the rim shot to make it more interesting. I added a reverb trigger using ADSR and probability, and incorporated hi-hats using a pattern and a glitch plugin. Finally, I added a stereo effect for the hi-hats using the blur device, combined with the dry signal.

Delay One in Bitwig Studio is a versatile device that allows you to offset incoming audio in sync with your BPM or manually in milliseconds, with flexible controls for feedback, filtering, and mixing. It can function as a simple delay, echo, looper, or even create glitchy and reverb effects by using the feedback FX chain to process and alter the sound in creative ways. This makes Delay One a powerful tool for offsetting audio, crafting evolving patterns, and experimenting with sound design during both production and live improvisation.

In this video, I explained what formants are and how they can be used to simulate a robotic voice. I showed how this can be done in Bitwig using the XP filter and vector 8. I also demonstrated how this can be achieved using Vital, a subtractive wavetable synthesizer, and a vocoder. Finally, I shared a free preset called Bitwig Lama which can be used to create this effect.

In this video, I explain why there is no sine wave in a classical subtractive synthesizer. This is because sine wave has no overtones and therefore makes no sense in terms of subtractive synthesis. I explain how the filter section can be used to target and amplify the fundamental frequency as well as other partials in the harmonic series. I also provide an overview of other synthesis methods such as additive synthesis, Wavetable synthesis, FM synthesis, phase distortion, vector synthesis, granular synthesis, and physical modeling. In each of these methods, sine waves make more sense. Finally, I explain why a saw and pulse waveforms are used in polysynth - because they give different harmonic overtones.

The Bitwig Studio pitch shifter can shift live audio up or down by up to 12 semitones and features controls for pitch amount, grain size, and blend between dry and wet signals. Its unique grain control lets you create effects from metallic comb filtering to granular delays, making it a powerful tool for creative sound design rather than traditional pitch correction. The device excels when used in combination with other effects like reverb and delay, or in parallel processing chains, to add texture and innovative modulation to your audio.

Producing music is an exciting and creative process that requires a unique combination of technical skills and artistic expression. Whether you are just starting out or have been producing music for years, there are always ways to improve your craft and create better music. In this article, we will explore some tips and insights that can help you produce great music.

The Bitwig Studio Test Tone device is a versatile tool that generates various sounds like sine, triangle, square, saw, white noise, pink noise, and direct impulses, making it ideal for testing speakers, effect chains, or system setups. Clever use of modulation and containers allows you to transform it into monophonic or polyphonic synthesizers, customize sound shaping with macros and envelopes, and even create impulse responses for convolution effects. Additionally, the Test Tone can be creatively combined with devices like ring modulators for unique sound design possibilities.

I recently bought the Minimal Audio Cluster Delay plugin, and in this video I gave an overview of what it can do. I showed how to adjust the delay, add effects, sync it to a beat, and use the randomization button to get a random preset. I also mentioned that the plugin is currently on sale for $50.

The audio receiver in Bitwig Studio allows you to inject and blend audio from other tracks at any point in your effects chain, providing flexibility to creatively combine and manipulate audio. You can add effects, adjust gain, and automate mixing, even on instrument tracks that are typically for MIDI instruments. By using devices like Chain and modulators such as Pasek Eight, you can sequence, shuffle, and switch smoothly between multiple audio sources for dynamic and rhythmic sound design.

In this video, I explain how to use DP Meter 5 to measure loudness levels and gain staging. I also explain the different modes, such as RMS mode, EVO mode, and dial mode. I show how to use the RMS integrated value, RMS momentary, RMS momentary max, true peak max, crest factor, and loudness range. I also explain how to use the gain setting, match button, and reference level. Lastly, I explain why you should use EVO instead of RMS, and how frequencies are factored into the numbers.

The DC Offset device in Bitwig Studio is a simple tool designed to correct DC offsets in audio recordings but becomes much more powerful with modulation, enabling creative sound design techniques like custom synthesizers, saturation, and bit-crushing effects. By converting audio signals into modulation sources, users can reshape, process, and reintroduce signals in unique ways, utilizing the full range of Bitwig modulators. This foundational device, while basic in concept, opens the door to a variety of experimental audio effects and advanced signal manipulation.

In this video, I show viewers a technique for creating a kick drum and bass sound out of the same oscillator in order to avoid phase issues. I explain how to use an envelope, add math module, noise, attenuate, and filter to achieve this sound. I also provide tips for tweaking the sound to fit a certain genre.