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Bitwig Pitch-12 Modulator - Create Per-Key Modulations

Bitwig Guide | Jul 26, 2022

The Pitch-12 modulator is a node-driven tool that lets you assign unique modulation parameters to every key in an octave, triggered either by MIDI input or node clips. Each key acts as an on-off modulator, and you can fine-tune behaviors using adjustable lag for smoothed transitions and a global modulation amount for overall control. This allows for diverse, customizable textures and sound variations linked directly to your melodies or chord progressions.

You can watch the Video on Youtube

Short Overview

I've found that the Pitch-12 modulator lets me assign unique modulations to each key within an octave, creating distinct textures and sounds for every note I play. There's no velocity sensitivity, just an on or off state, but I can smooth the transitions using the lag setting to avoid abrupt jumps. The global amount control makes it easy to adjust the modulation intensity across all keys at once. This flexibility allows me to bring a lot of variety into melodies and chord progressions, making my music feel more dynamic and expressive.

Introduction to the Pitch-12 Modulator

In this walkthrough, I delve into the functions and creative potential of the Pitch-12 modulator. This modulator is also node-driven, meaning its actions are triggered by note input from either node clips in a sequencer or from a MIDI keyboard. By mapping modulation to specific notes within an octave, I can create a range of textures and dynamic responses in my sound design and musical performance.

How the Pitch-12 Modulator Works

The Pitch-12 modulator requires a note input, which can be provided by:

For each note in an octave, I can assign a separate modulation handle. When I press a note, the corresponding modulation output becomes active.

Modulation Signal Logic

The output signal from each note modulator is strictly binary. There is no velocity sensitivity; it is simply on (1) when a note is pressed and off (0) when it is released. This functionality is useful for switching different modulations or sounds instantly depending on the key I play.

Creative Uses and Applications

By assigning different modulations to each key, I can:

For example, I can set the D and D# keys to control different filter cutoff amounts or modulate parameters on a synthesizer separately for each note. Pressing the same note in any octave triggers the same modulation, extending the flexibility across the entire keyboard range.

Lag Parameter and Smoothing

There is also a 'lag' parameter, which serves as a smoothing function. When switching between notes, this introduces a ramp, rather than an abrupt change, from zero to one. I can adjust how long this ramp takes:

Global Modulation Amount

A global amount knob allows me to scale all assigned modulations simultaneously. By dialing this down to a lower percentage, I can reduce the intensity of all modulations in one move, giving me macro-level control over how pronounced the pitch-based modulations are across the entire performance or preset.

Practical Example

In practical terms, I can, for instance, assign D# to modulate the cutoff filter with one amount, F to control the modulation amount of an LFO, and leave other notes unmodulated by reducing their amounts to zero. This means only pressing certain keys triggers specific modulations, opening up broad creative possibilities for complex, expressive performances or generative soundscapes.

Advantages and Unique Features

The Pitch-12 modulator stands out for its ability to inject variety into melodies, textures, and chord progressions on a per-key basis. It is particularly valuable for complex sound design and expressive play, allowing me to assign and fine-tune modulation actions to each note and smoothly blend between states with lag. The binary output is simple but effective for many modulation tasks.

Conclusion

The Pitch-12 modulator is a versatile and powerful tool for music production and sound design. By assigning different modulations to each note, smoothing transitions with lag, and managing influence with global control, I can infuse my music with nuanced, evolving modulations that respond directly to my performance and sequence choices. This modulator, when used skillfully, greatly enhances sonic interest and clarity in melodic and harmonic contexts.

Full Video Transcription

This is what im talking about in this video. The text is transcribed by Whisper, so it might not be perfect. If you find any mistakes, please let me know.
You can also click on the timestamps to jump to the right part of the video, which should be helpful.

Click to expand Transcription

[00:00:00] So the Pitch-12 modulator is actually also a node-driven modulator.
[00:00:06] And you need to have a key input, a node input.
[00:00:10] You can use node clips in the Ranger or the Clip Launcher for that, or you can use your
[00:00:16] MIDI keyboard, something like this.
[00:00:20] And you can define for each node you are pressing in an octave, you can define a modulator
[00:00:27] out.
[00:00:28] As you can see here, for each node, a different modulator handle.
[00:00:32] So when we press your C, you can take this and modulate something with it.
[00:00:38] And the modulator signal is always either zero or one.
[00:00:43] So there's no velocity sensitivity or anything like that, it's just on or off.
[00:00:47] So when you press the node, or if you don't press the node.
[00:00:51] And you can use this to define different sounds, different modulations for each key in an
[00:00:57] octave and this can lead to nice textures for different nodes.
[00:01:03] So maybe you play a melody and for each node in this melody, you get a different texture
[00:01:08] on a note or a different sound, a different modulation speed or something like this.
[00:01:14] So you can modulate this for each key differently.
[00:01:18] Then you have a low, you have lag.
[00:01:20] And this is basically just a smoothing option.
[00:01:23] So when you press one thing and then the other, you can see it fades slowly in the modulation.
[00:01:31] So it's not like zero and one, it slowly goes up from zero to one in smaller steps.
[00:01:38] So it's like a nice little ramp and you can define how long this ramp is here.
[00:01:44] And then there's also the global amount here where you can dial all these modulations at
[00:01:49] once down to maybe 20% or something like this.
[00:01:53] So you can reduce the modulation amount here globally.
[00:01:58] So in practice, this looks like this.
[00:02:02] You have this modulator here on the synthesizer.
[00:02:05] And for instance here on D, D sharp, you can see I defined here a different amount for
[00:02:12] the cutoff knob.
[00:02:15] So every time I press D sharp, and it doesn't matter on which octave, you can also use here
[00:02:20] one octave lower or one octave, two octaves lower, we have the same modulation here happening.
[00:02:28] And yeah, you can use for different key here, maybe a sharp, you can use here a different
[00:02:36] wave form.
[00:02:43] Or you can use maybe use an LFO here, let's say classic one, and you modulate, let's see
[00:02:51] the sync option here, something like this, also unipolar.
[00:02:59] And you only want to have this modulation happening for certain keys.
[00:03:03] So you go down here with the amount, so nothing is modulated at all.
[00:03:07] Then you go maybe to F, use this and change the modulation amount, so you have to open
[00:03:14] these two with the control.
[00:03:18] So F and we modulate here the modulation amount.
[00:03:24] And only when you press F on some octave, you have an LFO modulating here to sync knob.
[00:03:32] So yeah, there's a lot of variety you can bring into your sounds with this, also two
[00:03:39] melodies and maybe chord progressions.
[00:03:43] So then we have here the lag, and you can see when I press here the key of D sharp, we
[00:03:52] jump basically straight to the end point, which is modulation amount of one, and then
[00:03:58] back to zero.
[00:03:59] So when you bring in the lag here maybe for 800 milliseconds, it takes a while to get
[00:04:07] to the end point.
[00:04:12] So this can bring in a bit of smoothing when you maybe, let's say modulate the gain or
[00:04:18] the volume of something, and you get a lot of pops and clicks, then you can use the smoothing
[00:04:24] option here and remove that.
[00:04:28] So then here's the global modulation amount, and this is basically, yeah, when we modulate
[00:04:35] this here, you can dial this down maybe to half, and you can see it's only modulating
[00:04:40] here half of the way to the full length.
[00:04:44] So can change the global modulation amount for all these modulators at the same time.
[00:04:51] It's actually a very nice modulator, and if you use it well, then you get a lot of nice
[00:04:56] interesting modulations into your music, actually into melodies, into chord progressions.
[00:05:04] And yeah, nice modulator.
[00:05:06] [ Silence ]