Music Production Knowledge Backlog

In this video, I discussed why it's important to balance your frequencies before going into a limiter or clipper. I showed how to do this easily by using a tilt setting, or by using a VST plugin like Ozone 8 and using the Matching EQ feature. I also showed a method of using multiple band pass filters with a reference level tool to reach the same goal. Finally, I discussed the importance of not overdoing the brightness as it can lead to an overly sharp mix.

In this video, I showed how to use subtractive synthesizers to create simple and easy bass, lead, hoover, and kick drum sounds. I started by explaining what a subtractive synthesizer is and how to create a sine wave with one. I then showed how to create a kick drum using one envelope and how to create a lead sound using unison. I also showed how to create a hoover sound using two pulse waves and pulse width modulation. Lastly, I discussed how to create synthwave basses using distortion and the monophonic mode.

In this video, I discuss my workflow process when it comes to mixing down dance floor tunes. I stress the importance of starting with the creation process and how that influences the mixing process. I demonstrate how to use a transient shaper, a limiter, and a clip to reduce dynamics and create a punchy sound. I also discuss the importance of frequency balance and how it is influenced by the length of the samples and the BPM. Finally, I discuss how to create a hierarchy in the mix by making the kick drum the loudest part and then gradually reducing the volume of the snare and high hat.

In this video, I shared my thoughts on the new sample manager Cosmos by Waves, comparing it to my other sample managers like XO, Atlas, and Sononym. I found that Cosmos offers a lot of additional attributes for samples, which makes it easier to filter down to what you need. I also liked the Galaxy/Cosmos space where you can drag samples directly out. I found Sononym to be more suited for research, as it has a similarity search feature which takes a lot of attributes into consideration. I found Atlas to have better integration of its space, and XO to have the advantage of being able to export multiple samples simultaneously. In conclusion, I found all the sample managers to have different benefits and I use them all for different tasks.

I recently discovered that you can use XO as a sample browser in Bitwig Studio. By holding control and dragging samples out of XO, you can put them in samplots, drum machines, tracks and clips. You can also use a drum sequencer with the same mapping as XO and export the entire drum hit or individual samples. This makes it easier to review samples, select the right sample and quickly drag them into Bitwig. It's the missing sample browser I always wanted and makes for an efficient workflow.

In this video, I discuss the new Note Grid device in Bitwig Studio 4.2 and how it can be used to create interesting patterns and chord progressions. I explain how the Note Grid is similar to the Poly Grid and FX Grid devices, but is specifically dedicated to node functions. I demonstrate how to use the Note Grid to create polyphonic and monophonic sounds as well as how to use it to harmonize with a chord track. Finally, I demonstrate how to use the Note Grid to target individual notes and transpose them.

In this video, I show how to create a simple SynthWave track in Bitwig Studio. I demonstrate how to create a dreamy lead sound, a bass sound, and a drum beat. I also discuss how to use a breath controller and arpeggiator to make the track more interesting. Additionally, I talk about how to use a VHS preset and a texture plugin to add texture and atmosphere to the track. Finally, I show how to arrange the track into a cohesive song.

In this video, I show the new features in Rift 2.0, a powerful plugin for sound design. I demonstrate the different features, such as the dark skin, two panes, presets, and more. I then experiment with different sounds, such as sine waves, noise, and drums. I also show how to use the filtering, modulation, and feedback options. Finally, I recommend downloading the free Rift Filter plugin to get a taste of what Rift has to offer.

In this video, I showed viewers how to create a reverb inside Bifix Studio and the Grid. I began with loading a piano sound and then I created a stereo merge and split effect with an all pass device on each side. I then introduced a long delay and connected it to the output and input. I also added a modulation, random LFO, attenuate, and peak limiter. Lastly, I showed how to duplicate the patch and add a pitch shifter and chorus for a shimmering sound.

In this video, I showed how to create generative music in Bitwig Studio without using the grid. I showed how to use the Grid Node Out preset, which can be used to get node information out of the grid into the Bitwig world. I also showed how to use a Polymer synth and a small delay, as well as how to use the steps mode, the LFO, and the Key Filter to modulate the pitch and gate. Finally, I showed how to use a Node Clip and an ABit Creator to generate random nodes.

In this video, I explained what Polisphere is and how it works in Bitwig Studio. It's a library of musical sounding presets that can be used to create generative music with the clip launcher. I showed how to set up the clip launcher and how to add Polisphere's pad sounds to create a big atmosphere. I also talked about how this idea came from other producers and how they use presets to create their music.

In this video, I showed two examples of how I use the transient shape tool on a daily basis. I showed how I use it to glue together multiple drum loops, and how I use it in conjunction with an FX2 or FX3 device to make drum sounds more punchy and aggressive. I also discussed how it can be used to bring out the attack of a kick drum, or to remove the sustain of a snare sound. I hope this video gave you some ideas on how to use the transient shape tool in your own productions.

In this video, I showed how to create various effects, such as phasers, flangers, chorus, low pass and high pass filters, reverbs, and pitch effects, in the Bitwig Grid. I demonstrated how to use FX Grids and Chain Devices, as well as how to manipulate the delay time of a signal with an LFO and the Time Shift Device. I also showed how to create a multi-tap delay with the Long Delay and a Multi-Lay, as well as how to use the gates module to record and playback audio. Finally, I discussed the use of an AD envelope to reduce clicks in the signal.

In this video, I reviewed the court version tool called Ports by VA Productions. I tried out the demo version and gave my impressions of it. I found that it was a nice starting point for inexperienced producers like myself, as it has a pool of chord shapes to select from. However, I found that it was largely a trial-and-error based plugin, with no real guide for constructing a good chord progression. I also noted that you can't see which notes are overlapping with the next chord, and that it would be nice to have a feature that lets you control the rhythm of the chord progression. In conclusion, I found Ports to be a useful tool, but it could benefit from some additional features.

In this video, I showed viewers how to use the XO sampler to quickly and easily create sample packs, kick drums and drum loops. I demonstrated how to layer sounds, use FX2 and frequency shifters, adjust the loudness and reverb, and use the sample combiner to create different loops. I also shared tips on how to analyze kick drums and make sure the bottom part stays the same while the top part changes. Finally, I mentioned that you can use a hard clipper to check if the samples are aligned and gave advice on how to optimize the drums.

In this tutorial, I show how to create glitch sounds in Bitwig Studio by using a sampler and an arpeggiator. I demonstrate how to select multiple samples and distribute them evenly across the rotary control. I also show how to modulate the decay, pitch and loudness of the patch and use a random modulator to select different samples. Finally, I use an FX grid with a recorder and repeater to create a glitchy noise texture.