Music Production Knowledge Backlog

In this video, I discuss my preset called "Comb Guitar" which is available on my Patreon with the lowest tier. I show how it can sound like an acoustic guitar and I explain how the tonality, decay, pitch mod, and impulse responses can be used to change the sound. I also demonstrate how it can be used with Betwick Studio to create interesting guitar sounds. Lastly, I encourage viewers to check out my Patreon and download the preset.

In this video, I explain how to use a probabilistic graph to generate melodies in the Bitwig grid. I demonstrate how to input a scale of nodes, as well as dial in probabilities of which node follows which. I explain how this type of feedback loop is used in machine learning, and how it can be used to generate chords and even switch instruments. I share my code on Github for free, and invite viewers to have fun with it and extend it in any way they can.

The math modulator allows you to combine two modulation sources using various mathematical operations like multiply, add, subtract, minimum, maximum, and quantize, providing flexible ways to shape your modulation signals. You can control each input with knobs or modulate them further with sources like macros or LFOs, and the quantize option lets you set the resolution of your modulation in discrete steps. This tool is especially useful when you want to creatively process or combine modulation signals for unique sound design possibilities.

In this video, I show how to turn the Polymer synthesizer into a physical modeling synthesizer using the Carpular Strong Method. This involves adding an ADSR in polyphonic mode, increasing the noise to 100%, using the comp filter instead of the cell and key filter, and modulating the drive with an ADSR. I also show some additional options like modulating the damping of the comp filter with expressions and velocity, increasing the resonance limit, softening the attack with a longer attack time, and modulating the noise envelope. I also demonstrate how to use a stereo oscillator, add distortion, and use a high pass filter for lower tones. Finally, I show how to save this as a preset and recall it when needed.

The Macro 4 interface modulator combines four regular macro knob modulators into one compact, space-saving unit on the modulator front end. It offers familiar options like switching between bipolar and unipolar modulation and supports per-voice modulation settings. Aside from these conveniences, it functions just like four individual macro modulators.

I created a drum and bass track from scratch in this video. I started by adding a snare to a sampler and then adding a kick drum and some hi-hats. Then I created a bass line by modulating the oscillator and adding a beat limiter and a step mod. After that I added a pad sound with some modulation and a delay. I then added some more drums and a crash. I then added a clap and used a filter to make the kick and bass stand out more in the intro. Finally, I added a micro pitched synth and faded out the pad for the outro.

The Macro modulator allows you to assign a name, set a range from 0 to 100 percent, and morph between two different states of a synthesizer by modulating any parameter, even those nested within devices. You can switch between unipolar and bipolar modes and choose targets easily using the modulation handle, offering flexible sound shaping. This powerful modulator is especially useful for smoothly transitioning between presets or settings and includes per-voice modulation for added versatility.

In this video, I showed how to create a modal synthesizer polyphonic synthesizer inside Bitwig Studio using the Poly-Grid. I explained how to use a noise burst, an XP filter, and an envelope to create the basics of the synthesizer, as well as how to use transpose and ratios to create partials. I also talked about how to use macros to manipulate reverb, velocity, and attack, as well as how to use a slow machine and delay to add texture and depth. Finally, I discussed how to use a select switch to toggle between different synthesizer settings.

The LFO in Bitwig Studio offers unique features, including audio-rate modulation and pitch-following based on MIDI input, making it versatile for both sound design and sequencing. It provides flexible synchronization options, customizable wave shapes, delay and fade-in functions, as well as polarity, phase, and polyphony controls for deep creative modulation. With these powerful tools, users can shape sounds, create evolving sequences, and even build entire synthesizers using the LFO module.

The Key-Track modulator adjusts modulation based on note input, allowing parameters like filter cutoff to follow keyboard note position, with C3 typically as the neutral center. By tweaking the center and spread, you can control how much and how quickly modulation changes as you play higher or lower notes, and the modulation works best on instrument tracks because they support note input. To apply Key-Tracking to audio tracks, a note receiver is needed to route notes from an instrument track, enabling features like key-tracked filters even on pure audio clips.

I recently got the chance to try out the new update of Steinberg's Backbone, a drum re-synthesizer. It has a lot of cool features, like a drum generator powered by an AI neural network which generates kick drums, snares, cymbals and more. It also allows you to drag in your own samples and then analyze them, re-synthesize them with sine partials and modify them to create new drum sounds. Additionally, you can also access multiple variations of the same sample and generate new variations with the click of a button. I'm really enjoying this new update and think it's a great way to come up with new and interesting drum sounds.

In this video, I discussed the E-SNARE device in Bitwig Studio. I showed how to blend between the two oscillators, mix the noise with the envelope, and shape the sound with filters and the output section. I explained how to create snare sounds with the device, such as deep snares, light snares, and rim shots. I also showed how to add room to the sound with the convolution device and how to layer the snare with a sample using the ADSR. Finally, I demonstrated how to use distortion, EQ, and saturation to shape the snare sound and how to use a peak limiter and Valhalla Supermassive to add texture.

The HV/CV-In input modulator in Bitwig Studio allows you to use control voltages from hardware like Eurorack systems to modulate parameters within Bitwig, such as synth cutoff, using audio signals as control sources. You can adjust smoothing and gain to fine-tune the incoming signal and select between DC or AC coupling based on your audio interface, making it versatile for hardware integration. This tool is particularly useful for bringing the expressive control of Eurorack modular setups directly into your digital music production workflow.

I recently tried out Bitwig Studio's new CLAP plug-in format and it was really cool! With this new format, I was able to modulate parameters polyphonically, as well as use random modulators which are polyphonic by default. I was also able to use an MPE controller to open up the cutoff for each note I pressed differently. There are also some other features in the CLAP format such as communicating metadata to the host and CPU multi-core performance improvements. If you're interested in trying it out, there are links in the description below to download the beta versions and information on how to develop CLAP plugins.

In this video, I shared how I use the e-kick in Bitwig Studio to create nice sounding kick drums. I showed how I use the pitch mod and decay setting to shape the sound, and how I use the FX2 to split the frequencies in the low and high end. I also explained how I use the EQ2 to cut the frequencies and how I use the distortion, frequency shifter and ADSR to bring out the best parts of the kick drum. Finally, I shared how I use the desk tone generator and a sampler to add flavor to the kick drum.

The global modulator offers three handles, Fill, A/B, and Play, that let you modulate various device parameters based on different states, such as toggling fill, crossfading between A and B, or responding to the play button's state. These features allow for dynamic control, such as muting devices or adjusting filters, depending on whether you're in performance or mixing modes. Additionally, you can easily rename the modulator to keep your workflow organized.