Music Production Knowledge Backlog

In this video, I talk about the release of Bitwig Studio 3.0 and how excited I am that it's finally available for download. I mention that there is a demo version available for those who want to try it out. I also mention that users can download the presets I created for the grid by going to the settings and packages section. I demonstrate how to use the presets with the MPE controller and discuss the different types of presets I created, including pads and beat patterns. I also mention the idea of randomizing presets and demonstrate how it works using the pulley synth and the grid. I discuss the limitation of not being able to persist the generated presets, but overall, I express my excitement for the new release and invite viewers to provide feedback and bug reports for future improvements. I conclude the video by thanking the viewers for watching and wishing them fun with Bitwig 3.0.

In this video, I talk about the resonator device in Bitwig Studio, which is like an EQ but can do a lot more. Someone asked about creating an 808 kick drum, and I show how to do it using the resonator. I explain the synthesis method for an 808 kick drum and demonstrate how to create a sine wave burst, use an ADSR envelope, and mix it with the resonator output to achieve the desired sound. I also show another use case for the resonator, which is using it to create melodies or chords from a drum loop. By setting different octaves of the resonator bank to different notes, you can create unique melodies. Lastly, I show how to use the resonator to add tonality to vocals and create pads. Overall, the resonator is a versatile device that has a lot of potential for creative sound design.

In this video, I discuss Mr. Bill's tutorials for Ableton Live, which can also be applied to Bitwig Studio. I demonstrate a trick using multiple FX3 devices to create a phasing effect, as well as amplifying the artifacts of a reverb using tool devices. I also show how to sample and manipulate the glitchy sounds created. I encourage viewers to check out Mr. Bill's tutorials and try out these techniques in Bitwig Studio.

In this video, I talk about a diatonic transposer that can be used in Bitwig to create chord progressions. By using the diatonic transposer, you can correct wrong notes to the right notes of a scale, making it easier to create chord progressions that stay within a specific scale. I demonstrate how to use the diatonic transposer in Bitwig by choosing a scale and mode, and then using the multi-note function to duplicate the notes to different keys. This allows you to easily find starting chord progressions. I also show how to use the diatonic transposer with an arpeggiator to experiment with chord changes, and how to use it with a bassline by using the note receiver and the arpeggiator. Additionally, I introduce the plugin "Cthulu" which allows you to choose specific notes from a chord to create melody lines. I explain that while diatonic chords can be a good starting point, it's important to break out of the diatonic scale scheme at times to add variation and interest to your compositions. I hope this tutorial provides some ideas for creating interesting melody lines and chord progressions, and I encourage viewers to comment with any questions or tutorial requests.

In this video, I show you how to create a step sequencer that generates a melody on a click and in scale. I start by setting up a polygrid and creating a clock using a scaler. Then, I use a counter to create the step sequencer and apply some math to get clean integer values for each step. I use a dice to generate random notes and a comparing module to trigger the steps. I also use a pitch scaler to narrow down the range of the notes and a pitch quantize module to further refine the melody. Finally, I demonstrate how to use logic operators like smaller and bigger to manipulate the signals. Overall, it's a basic setup, but you can customize and expand on it as you wish.

In this video, I explore using the zero crossings module in Bitwig Studio to change the pitch of a sine oscillator. I demonstrate how to set up the pulley grid and select the microphone input as the hardware input. To clean up the signal and make the pitch changes smoother, I use an LFO device. I also show how to trigger the gate signal using voice input from the microphone. I use a select module and a constant with a gain to achieve this. I discuss the concept of an inverted threshold and mention that using a gate length module can slow down the switching of the select box. Finally, I mention the possibility of using pitch scalar plugins for pitch quantization and the potential for creating pads and vocal sounds with these techniques.

In this video, I demonstrated how to use your voice as a phase input signal to an oscillator. I showed how you can use the pulley grid and the hardware input module to phase distort a triangle oscillator using your voice or microphone as an input. I also discussed how you can shape your voice using distortion, high-pass, and low-pass filters before applying it to the phase input. Additionally, I showed how you can use the zero crossing module to create a pitch signal from a sine wave, allowing you to sing and have the oscillator follow your pitch. Overall, using your voice as a phase input signal can lead to interesting and unique sounds in bass lines or lead sounds.

In this video, I try to create a pet-like sound inside Bitwig using the Swarm Oscillator. I start by exchanging the envelope with an RDSR and adding a modulator with random settings. I then modulate the spread value and pitch offset. I activate more voices and add all-pass filters to create a stereo effect. I also use delay and tape modules for a unique sound. I add filters and mixers to enhance the sound and use an attenuator for volume control. I experiment with different modulations and create a sequence using gates and pitches. I use logic devices to control the sequence and add a face-in device for further modulation. Overall, I explore different ideas and modules to create a textured pet sound.

In this video, I show you how to create a Neuro-Funk Bass using synthesis techniques in the pulley grid. I start by swapping out an envelope for an ADSR to have more control, and I change the triangle to a phase one oscillator. Then, I clone the oscillator and phase modulate one with the other. This creates a nice sounding bass quickly. I also add some effects like an all pass filter and distortion to enhance the sound. I use EQ and a macro knob to further shape the bass. The key is to experiment with different parameters and create movement in the right ranges. I also demonstrate how to create different variations of the bass sound by making small edits and changes. Finally, I share the patch I created in my guitar repository. Overall, it's a fast and easy way to create a Neuro-Funk Bass.

In this video, I discuss the idea of letting go when it comes to music production. I talk about how some people are obsessed with recreating sounds and plugins in order to achieve accuracy, but in my opinion, it doesn't matter in the real world. Bitwig Studio already offers a wide range of options for creating complex and interesting sounds, so being stuck on recreating other plugins can be limiting. I also touch on the topic of plugins that emulate real devices, and how it's more for your own satisfaction rather than something others can recognize or distinguish. I emphasize the importance of trying new things and being playful in your music production process, rather than sticking to what is known. I also talk about a workflow I've been using for years called iterative refinement, which involves creating drafts or loops and coming back to them later to refine and finish. I encourage musicians to not feel bad about having multiple unfinished tracks, as they can serve as a starting point for future projects. Overall, I believe that music production is about making decisions, being open to new ideas, and letting go of unnecessary attachments.

In this video, I show you how to create a tape stop effect using Bitwig's FXgrid device. I use delays, ADSR, and gain volume to create the effect. By adjusting the delay buffer size, you can achieve the slow down and speed up effect of a tape stop. I also demonstrate how to create flutter effects using tape emulation plugins. Additionally, I explain how to create wave tables in Bitwig by using wave files and the sampler instrument. By using the cycles mode and wave table position knob, you can scan through the wave tables and create unique sounds.

In this video, I share an update on my recent work with Bitwig Studio presets. I explain that I have been busy creating presets and doing daily work, which is why there hasn't been a video in a while. However, I wanted to give an update today and let everyone know that some of the presets I have created are possibly available in the Bitwig released version or stable version. When you buy or have a running plan and download the stable version, you will have instant access to these presets. I mention that I have already shared a few presets on my social media accounts on Instagram and Twitter, but I will be removing the outdated versions from the GitHub repository. I don't know the exact release date for the final version of Bitwig Studio, but hopefully it will be soon. I also mention that I haven't stopped creating presets and already have new ones in the making. I demonstrate one of the presets I have been working on called "Monster," which is a wavetable synthesizer aimed towards basslines. I explain the interface and features of the preset, including the ability to mix and match wavetables, adjust sub oscillator volume, and frequent modulate the sub oscillator with the wavetable. I also mention the FX section, which includes a reverb, low pass filter, and amp device. I note that the preset is not finished yet, but I plan to release it soon and provide updates on my progress.

In the video, the person gives an update on their GitHub repository and its content. They inform that they have made some changes to reduce the size of the repository by removing certain folders. Now, it only contains Bitwig presets and can be easily cloned into the Bitwig library. They also mention potential plans to split the repository into different versions for Bitwig 1, 2, and 3 in the future. The person then talks about renaming their Bitwig presets repository to Bitwig community presets to clarify that the presets are from the community, not their own. They mention that the monthly Bitwig competition is currently not very active but plan to add a bot to a Discord chat where users can upload presets and discuss them. These presets will be automatically added to the repository.Lastly, they discuss changes made to the preset party app, which is a standalone application for managing the repositories. They show how to change the path of the Bitwig library and how to download and update the repositories. They mention that the initial download may take longer but subsequent updates will be faster as only the changes are downloaded.

In this update video, I talk about how I have been busy with my daily job and preparing presets for the release of Bitwig Studio 3.0. I explain that my goal is to have a collection of good sounding presets ready for new users who want to explore what's possible with the grid. I showcase a piano emulation I created using filters and physical modeling synthesis, along with mechanical sounds from a friend's piano. I also introduce a new reverb called Kitsch-Verb and discuss using random modulation to create an organic feel. I share a work-in-progress version of the piano preset on my GitHub repository and provide a link in the description. I also mention that my friend, Skyance, has released a sample pack on a new website called Intimate Noise and I encourage viewers to check it out. Lastly, I ask for feedback on the piano preset and mention that I will be discussing other patches in upcoming videos.

In this short video, I wanted to share a project with you that contains five different scenes for creating drum and bass tunes. Each scene has different loops and tracks, separated into categories like kicks, snares, bass, and atmospherics. I've added some compressors to glue the sounds together, but there's not much processing going on. I use a main kick on every draft, sometimes layered with different top kicks for texture. The bass sounds are created with the Phase Four synth, which I find works well for drum and bass. I've also included step sounds, a piano, and a pad sound. This project is a starting point for creating your own drum and bass tracks, and I'll continue adding more to it in the future. I would love any feedback or suggestions for additions or changes. You can download the project from my GitHub repository and have fun experimenting with it. Thank you for watching!

In this video, I addressed some of the issues that viewers had with the noise and hiss in my previous recordings. I made some changes to my setup, removing limiters and EQs, and not using the limiter in my recording program. I then went on to discuss some small changes that could improve the 3.0 release of the beta version of the software. One of the suggestions I had was to add a search field at the top of the modules section for easy navigation. I also proposed adding a lock feature that would hide cables and lock the view for those building interfaces. I mentioned some issues I had with the beta, such as flickering red overlays, and the removal of hover information overlays. Overall, I expressed satisfaction with the beta release, mentioning its stability and lack of crashes. I also mentioned a YouTube channel that focuses on synthesis and shared my own physical modeling synth presets that can be downloaded. Finally, I talked about a generative track I created and made it available for download.