Bitwig Poly Grid: Building Rain Habitat from Scratch

[00:00:00] So another grid, I haven't built the grid in almost, I don't know, two weeks, three weeks or so, so I maybe should create something new.
[00:00:09] Normally when I create these grids sometimes, not all the time, I just listen to some other music.
[00:00:17] So I build these grids basically without listening to the grid itself.
[00:00:21] I just build stuff and then listen to something else in the background.
[00:00:27] And then at some point I switch of course and listen to what I just created.
[00:00:31] And yeah, but when I record these videos, I can't do that.
[00:00:35] So I have to talk about what I do.
[00:00:39] So yeah, maybe for today I start by creating some samples.
[00:00:48] Maybe I haven't done a grid actually on my channel with a sampler in a few years.
[00:00:59] Maybe I use my polarity resonator here.
[00:01:06] And I create first some sounds with noise.
[00:01:15] I feel like that.
[00:01:19] Let's go to, let's stay on C.
[00:01:27] Yeah, that's too low.
[00:01:57] And then I just record that, my recorder.
[00:02:27] [music]
[00:02:46] And then I just put it into the sampler I guess.
[00:02:56] I feel like that.
[00:02:59] [music]
[00:03:05] And most grids and just pads, maybe chord.
[00:03:13] It's one shot.
[00:03:15] Yeah, why not?
[00:03:17] Maybe put this in here.
[00:03:21] And then we delete this.
[00:03:24] We have something to work with.
[00:03:26] So that's the idea.
[00:03:29] We disconnect that.
[00:03:32] Use an amplifier here to control the volume.
[00:03:38] And we use maybe, what's the name, playback.
[00:03:43] Transport playing.
[00:03:45] So this one starts here, this one.
[00:03:48] It's already on C3 because I recorded this also on C3.
[00:03:52] I'll need to correct that.
[00:03:59] Maybe we use here, not a pitch, we use a root module.
[00:04:04] Go in there.
[00:04:06] We disable that.
[00:04:08] And then we can go to EP minor.
[00:04:12] That's not really important.
[00:04:16] But I choose to use E flat minor.
[00:04:23] Because all my other grids also use E flat minor.
[00:04:26] And I can just mix and match them sometimes with the renderings.
[00:04:32] It's quite fun when you have all the tracks in the same scale.
[00:04:38] But yeah, you don't need to do that.
[00:04:41] It's just my stick.
[00:04:46] So we have that.
[00:04:49] Maybe we go into certain loop length.
[00:04:56] And we get the sound.
[00:05:06] So we can go to spectral here.
[00:05:08] Let's see what we get out of those different play modes here.
[00:05:30] Random, not the way, I choose random here.
[00:05:52] And we need to loop it, probably.
[00:05:59] Octoskey.
[00:06:25] I don't know how it sounds later on when we have some kind of reverb on that.
[00:06:41] Stick with 12, just one octave.
[00:06:48] And your also bipolar also can sometimes play backwards.
[00:06:57] And what's that here, that's the format processing.
[00:07:26] Yeah, I think start with that.
[00:07:41] And then just put the reverb on that and see how this sounds.
[00:07:47] And we actually stop this on every one I switch the modes.
[00:07:53] Let's come up with the shimmery rub, this one.
[00:08:01] Maybe 12 stages.
[00:08:06] And we end on, it's actually, it's a drone so it can be long.
[00:08:12] Maybe 300 milliseconds or so.
[00:08:18] Start with 12 here.
[00:08:22] Let's see how this works.
[00:08:23] I put this here on my different screen, on my other screen.
[00:08:27] So we need to use an alpass.
[00:08:33] Go in here.
[00:08:36] And we start with 12.
[00:08:41] We have, I should actually create some kind of export on the website.
[00:08:54] So I can import just a grid preset, that should be fun.
[00:09:15] 16, this is 7, 8, 10.
[00:09:40] And the last one, 300.
[00:09:54] Okay, let's see how this sounds.
[00:10:13] So this is the first reverb.
[00:10:29] Someone commented, I think in one of my videos, all that just for one pad sound.
[00:10:37] It's quite funny.
[00:10:38] But the thing is, if you create a pad sound, you usually don't see all of this.
[00:10:44] But you have a reverb already in place in the door or inside of the synthesizer.
[00:10:49] You don't need to create this.
[00:10:50] But here in the grid, I create everything from scratch.
[00:10:54] That's the point.
[00:10:55] So we can see all the complexity that's normally hidden away.
[00:11:02] Let's use another one here.
[00:11:25] It has a different feel.
[00:11:27] It's very a feel, or what's the name?
[00:11:32] Very moody.
[00:11:50] Maybe you should shift an octave.
[00:11:53] Let's see how this sounds.
[00:12:14] I think the other one was better.
[00:12:25] And let's switch this down to C2 so it's pitched up, hopefully.
[00:12:38] We pitch it back down with this one.
[00:12:47] Slow grain rate.
[00:12:52] We have now here this what we get here.
[00:12:56] The dry signal and also the wet signal from the pitch shifter, which pitch shifts everything down by 12 semitones.
[00:13:07] You can maybe do this again.
[00:13:30] But after the...
[00:13:45] We get this here.
[00:13:48] Maybe do another all pass.
[00:14:17] Something like that.
[00:14:26] Maybe the umeter here.
[00:14:28] The umeter there.
[00:14:39] And I need here some what's that, two, four, six, six stage.
[00:14:48] Start is three milliseconds and is 200 milliseconds maybe.
[00:15:00] We get very diffuse.
[00:15:04] And we start here with three milliseconds.
[00:15:08] And then we go into that, which is a very specific number.
[00:15:35] And 200.
[00:15:54] This is actually my favorite trick right now using this pitch shifter in front of the reverb and slowly building layer below layer.
[00:16:06] So I have this high pitched thing here, right, and then go through reverb.
[00:16:11] Also, this one is already pitched down.
[00:16:15] Then I take all the outputs, pitch it down even more.
[00:16:19] Make it a bit louder.
[00:16:21] Maybe it is a bit quieter.
[00:16:35] Yeah, and use another chorus.
[00:16:42] Maybe flanger.
[00:16:44] Flanger could be cool.
[00:16:47] Maybe in front.
[00:16:58] And then I move this over here like that.
[00:17:24] Okay, what about this was 20 or 25.
[00:17:55] Band knob.
[00:18:00] Speed knob.
[00:18:11] I hope this is in a scale.
[00:18:13] I hope this makes sense when I now play some notes to it.
[00:18:18] Let's try it out for a moment here.
[00:18:28] That was a quantizer.
[00:18:37] So in C, this is the root. This is the fourth. This is the fifth.
[00:18:45] Let's add the root note to it.
[00:18:56] Quantize it to the scale again.
[00:19:07] So we have random pitch, annuating going there.
[00:19:31] Amplify.
[00:19:43] That's that.
[00:19:54] Take a chance.
[00:20:05] And check it the same reverb here.
[00:20:32] And then we have a chorus.
[00:21:02] Maybe we add here the minor second to it.
[00:21:26] Okay, let's use another sign.
[00:21:29] This is for phase modulation here or phase distortion here.
[00:21:37] And every time we get a trigger.
[00:21:47] We randomize the ratio like that.
[00:21:57] And also the amount.
[00:22:27] Maybe I need also this reverb here additionally.
[00:22:49] Okay, I try to add low pass to this one here.
[00:23:18] Yeah, also want to modulate that.
[00:23:33] Okay, let's try it out.
[00:23:49] Okay, let's try it out.
[00:24:14] Nice.
[00:33:41] Okay, let's try it out.
[00:33:49] Okay, so now that we have this, here's a modulator out here, and then we use that for.
[00:34:04] Okay, so we have the same melody, more or less, but this one opens up here to satinulate,
[00:34:23] which makes the range bigger, which then ends up on different notes, or maybe you go to
[00:34:42] five, let's see how that sounds, it goes here after the feedback here, maybe.
[00:34:59] Okay, so now that we have this, here's a modulator out here, so let's try it out.
[00:35:15] Okay, and here I want to have a bit of modulation for the delay time.
[00:35:41] Okay, so now that we have the modulator out here, let's try it out.
[00:35:57] Okay, so now that we have the modulator out here, let's try it out.
[00:36:07] Okay, and then we want to re-trigger this whole thing, maybe do we have here transport?
[00:36:29] Go every 32 bars, maybe, get the trigger every 32 bars, so we re-trigger here the note generation
[00:36:45] here, and also this one, okay, so maybe we do this again, instead of this clock, you
[00:37:15] divide, use another clock divide, which slows this down even more, from here, every three
[00:37:23] steps, every five steps, so every three five steps, and use that to modulate this one here
[00:37:41] by four, maybe, and then this one gets out of rhythm pretty fast, so we use a clock quantizer,
[00:38:02] so it changes also the rhythm.
[00:38:18] Maybe this is too much here.
[00:38:38] Okay, so now that we have the modulator out here, let's try it out.
[00:38:59] Okay, we can extend this even more.
[00:39:25] Let's do for every step, for every step, we do a different decay time.
[00:39:52] Okay, for every step, skew.
[00:40:13] Okay, so we have this one here, okay, so we have this one here, okay, so we have this one here,
[00:40:43] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:41:10] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:41:39] have this one here, okay, so we have this one here, okay, so we have this one here,
[00:42:05] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:42:19] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:42:38] have this one here, okay, so we have this one here, okay, so we have this one here,
[00:43:01] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:43:14] one here, okay, so we have this one here, okay, so we have this one here, okay, so
[00:43:34] we have this one here, okay, so we have this one here, okay, so we have this one here,
[00:43:51] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:44:15] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:44:39] have this one here, okay, so we have this one here, okay, so we have this one here,
[00:45:06] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:45:30] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:45:46] have this one here, okay, so we have this one here, okay, so we have this one here,
[00:46:05] okay, so instead of an LFO or a random LFO, I take this one here,
[00:46:30] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:46:59] one here, okay, so we have this one here, okay, so we have this one here, okay, so
[00:47:23] we have this one here, okay, so we have this one here, okay, so we have this one here,
[00:47:48] okay, I don't like this empty stuff here, maybe I put all of that stuff in here, I don't
[00:48:15] like this, okay, so we have this one here, okay, so we have this one here, okay, so
[00:48:42] we have this one here, okay, so we have this one here, okay, so we have this one here,
[00:49:09] okay, so I have this one here, okay, so we have this one here, okay, so we have this
[00:49:34] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:49:59] change it also randomly, 32 bars are very slow, so it's not playing all the time, maybe
[00:50:29] short on maybe 24 bars, okay, so we have this one here, okay, so we have this one here,
[00:50:58] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:51:16] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:51:41] have this one here, okay, so we have this one here, okay, so we have this one here,
[00:52:10] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:52:26] one here, okay, so we have this one here, okay, so we have this one here, okay, so we
[00:52:52] have this one here, okay, so we have this one here, okay, so we have this one here,
[00:53:19] okay, okay, so we have this one here, okay, so we have this one here, okay, so we have
[00:53:37] this one here, okay, so we have this one here, okay, so we have this one here, okay, so
[00:54:01] yeah, this could be interesting on the whole thing, but adding now some kind of mod delay
[00:54:22] to everything, what's the name, Mixer, okay, so we have this one here, okay, so we have
[00:54:45] this one here, okay, so we have this one here, okay, so we have this one here, okay, so
[00:55:11] we have this one here, okay, so we have this one here, okay, so we have this one here,
[00:55:35] okay, so we have another output here, somewhere here, yeah, this one, okay, so when we add
[00:55:57] an amplifier here, we can mute it, okay, so instead of that here, use this here, it's
[00:56:23] kind of erosion, that's too much, okay, so we have this one here, okay, so we have
[00:56:51] this one here, okay, so we have this one here, okay, okay, so we have this one here, okay,
[00:57:17] so we have this one here, okay, so we have this one here, okay, so we have this one here,
[00:57:44] okay, so we have this one here, okay, so we have this one here, okay, so we have this
[00:57:57] one here, okay, so we have this one here, okay, so we have this one here, okay, so
[00:58:22] yeah, I think you did the pad sound in the beginning, it was not the greatest idea,
[00:58:36] okay, so let's see if I switch this here to pure, comes out of that, okay, so we have
[00:59:02] this one here, okay, so we have this one here, okay, so we have this one here, okay, so
[00:59:28] we have this one here, okay, so this one here, okay, so we have this one here, okay, so
[00:59:51] we have this one here, okay, so let's switch this here to pure, okay, so we have this one
[01:00:09] here, okay, so
[01:00:39] okay, so
[01:01:09] okay, so
[01:01:39] I need to have slight, slight, what's relations in there?
[01:02:09] okay, so
[01:02:39] maybe I'll use the second one,
[01:03:10] sounds more like a piano then,
[01:03:16] I need the dense delay,
[01:03:26] very diffuse but not that long, maybe 100,
[01:03:37] started to, maybe use, I don't know, 8,
[01:03:42] very diffusing,
[01:04:03] so
[01:04:33] ,
[01:05:03] ,
[01:05:34] yeah, also much like that,
[01:05:42] and we need the chorus in there,
[01:06:03] so
[01:06:34] let's use the same, same amount,
[01:07:03] ,
[01:07:33] ,
[01:08:03] ,
[01:08:10] random,
[01:08:14] bam,
[01:08:31] and we should quantize this,
[01:09:01] ,
[01:09:14] so
[01:09:31] ,
[01:09:40] maybe we should make this much longer here,
[01:10:01] okay,
[01:10:04] so let's start with 8 and start with maybe, I don't know, 60ms, end up on 500,
[01:10:31] four,
[01:10:37] eight, okay, let's start with 60ms,
[01:10:57] actually I'm really enjoying doing this here, because it completely
[01:11:02] throws me out of my day, I don't think about anything else,
[01:11:08] which is really relaxing,
[01:11:22] okay let's try that,
[01:11:52] ,
[01:12:05] so,
[01:12:22] ,
[01:12:52] ,
[01:12:59] and it's there,
[01:13:22] ,
[01:13:52] ,
[01:14:23] ah,
[01:14:35] maybe I need more,
[01:14:41] more reverb,
[01:14:53] hmm, and I don't really like it, to be honest, it's not what I envisioned,
[01:15:23] so,
[01:15:29] maybe I need a high-pass here,
[01:15:53] so,
[01:15:55] I leave it for now,
[01:16:05] okay, maybe I try another one,
[01:16:22] ,
[01:16:49] maybe I try something like that,
[01:17:20] and then I need different pitches,
[01:17:27] that, I again use sequencer,
[01:17:52] only if it's true they are,
[01:18:22] ,
[01:18:52] ,
[01:19:05] so,
[01:19:22] ,
[01:19:52] ,
[01:20:23] okay, that's better,
[01:20:53] okay,
[01:21:01] it's very sensible here in the beginning,
[01:21:15] this one here,
[01:21:22] so,
[01:21:33] okay, I want to have a different,
[01:21:50] bit of dispersion,
[01:22:20] ,
[01:22:31] so,
[01:22:51] okay, almost sounds like a piano without the body,
[01:22:57] let's see,
[01:23:01] if we can simulate something,
[01:23:07] ah, what do we need,
[01:23:37] ,
[01:24:08] and there's no EQ in the grid,
[01:24:37] ,
[01:24:52] this is the octave shift,
[01:25:07] ,
[01:25:37] ,
[01:26:07] so,
[01:26:14] too busy,
[01:26:37] ,
[01:26:44] so,
[01:27:08] ,
[01:27:37] ,
[01:28:07] ,
[01:28:37] ,
[01:28:52] yeah, yeah, blend this in and out,
[01:29:07] one bar,
[01:29:12] no, 30 bars,
[01:29:37] ,
[01:29:46] wait a minute,
[01:30:07] ,
[01:30:37] ,
[01:31:08] ,
[01:31:38] okay, it's getting a bit out of hand,
[01:32:07] ,
[01:32:37] ,
[01:33:07] ,
[01:33:20] yeah, we need to move this here a little bit,
[01:33:38] over three bars,
[01:34:07] ,
[01:34:38] ,
[01:34:52] ah, I'm not a big fan,
[01:35:07] ,
[01:35:14] maybe,
[01:35:20] maybe instead of this,
[01:35:37] ,
[01:36:07] ,
[01:36:37] ,
[01:37:07] it's more, more sparse,
[01:37:37] yeah, that's better,
[01:37:46] okay, so maybe I save this first, what's the date,
[01:38:06] seven, 27,
[01:38:34] okay, so some sound effects we need,
[01:39:04] ,
[01:39:34] ,
[01:40:04] ,
[01:40:35] let's see how this sounds,
[01:41:04] ,
[01:41:35] ,
[01:42:04] ,
[01:42:34] ,
[01:42:41] ,
[01:43:04] ,,
[01:43:11] we're you, you, you,
[01:43:34] ,,,
[01:44:04] ,,
[01:44:11] yes,
[01:44:34] ,,,,,
[01:45:04] ,,,,
[01:45:34] ,,,,,,,,,,,,,,,,,,,,,,,,,,
[01:45:59] ,,,,,,,,,,,,,,,,,,,
[01:46:28] okay, I need to need to make a break for a minute,
[01:46:33] so let's add some bass,
[01:46:39] I think I do the same trick here, the merge,
[01:46:51] maybe four bass notes,
[01:46:56] one stays on zero, which is the root,
[01:47:01] I'm going to copy just this here,
[01:47:26] ,
[01:47:35] zero, maybe minus one,
[01:47:56] ,
[01:48:26] ,,,
[01:48:31] or maybe you don't use an ADSR at all,
[01:48:56] ,,,,,
[01:49:19] let's have a splitter here,
[01:49:27] splitter,,,,,,,,,
[01:49:44] make it one over here,
[01:50:12] one at a clock-to-byte counter,
[01:50:41] one is too fast,
[01:50:46] this are every four bars a new note,
[01:51:08] yeah we can open up the filter,
[01:51:13] so C is basically exactly the note we are playing,
[01:51:30] which is too low, so you go one octave higher, which is basically the first
[01:51:36] partial,
[01:52:06] this is the modulation here we get,
[01:52:19] this would open up the filter,
[01:52:23] additionally to the position,
[01:52:27] we use a band,
[01:52:36] one at a clock-to-byte counter,

[02:48:08] one at a clock-to-byte counter,
[02:48:12] I feel a lot of comp filters in there. I kill some.
[02:48:18] Yeah, it goes down fast.
[02:48:42] [Music]
[02:48:46] [Music]
[02:48:50] [Music]
[02:48:54] [Music]
[02:48:58] [Music]
[02:49:02] If you have a smaller CPU, sorry.
[02:49:06] [Music]
[02:49:10] [MUSIC PLAYING]
[02:49:40] [MUSIC PLAYING]
[02:50:10] [MUSIC PLAYING]
[02:50:13] Ay, ay, ay, ay, ay.
[02:50:41] Now, when I save the patch and reload it,
[02:50:44] it's probably a little bit better.
[02:50:47] What a monster.
[02:51:10] [MUSIC PLAYING]
[02:51:40] [MUSIC PLAYING]
[02:52:10] [MUSIC PLAYING]
[02:52:13] That's it.
[02:52:20] It's happening when I close this.
[02:52:35] Oh, yeah, the CVO goes down.
[02:52:37] I just close.
[02:52:41] [MUSIC PLAYING]
[02:53:07] [MUSIC PLAYING]
[02:53:37] [MUSIC PLAYING]
[02:54:07] Let's go to minus 12.
[02:54:08] I don't know what the other tracks are on my channel.
[02:54:11] Minus 12 sounds right, probably less.
[02:54:28] That's 14.
[02:54:37] [MUSIC PLAYING]
[02:54:40] I need to listen to it on my monitors or my speakers,
[02:55:02] just to have an idea, a rough idea.
[02:55:06] Probably the drops are too loud.
[02:55:10] I kind of like it.
[02:55:36] [MUSIC PLAYING]
[02:55:39] Anyway, so that's it for this video.
[02:55:46] I tried to record the video now, which should be two hours
[02:55:51] long, at least.
[02:55:54] And then I upload this stuff to YouTube.
[02:55:57] Thanks for watching.