Tags: posts polarity-music Bitwig Generative Grid Sound-Design Modulators Tutorial

Creating a Textured Pet in Bitwig Grid - Experimental Sound Design

Tutorial | Jun 20, 2019

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.

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Questions & Answers

Maybe you dont watch the video, here are some important takeaways:

1. What is the purpose of this video?

The purpose of this video is to demonstrate the process of creating a pet-like texture using the grid feature in Bitwig. The creator starts with a poorly designed grid and uses a swarm oscillator, replacing the envelope with an RDSR. They also add modulation and utilize spread values to create a wider stereo effect.

2. What are some of the key steps and techniques used in creating the pet texture?

Some key steps and techniques used in creating the pet texture include:

3. Is there a specific plan or structure followed in the video, or is it more improvisational?

The creator mentions that they don't have a specific plan for what they're creating in the video. Instead, they approach it as an improvisational process. They try out different combinations of modules, modulations, and effects, and stick with what sounds good. This allows for experimentation and exploration of various sound possibilities.

4. What are the benefits of using the grid feature in Bitwig for creating textures?

The grid feature in Bitwig offers several benefits for creating textures. Firstly, it provides a modular environment that allows for flexible routing and signal processing, enabling users to create unique and complex sound textures. Additionally, the grid offers a wide range of modules and devices that can be combined and customized to suit individual preferences and creative intentions. This versatility allows users to explore different textures and experiment with various parameters, resulting in highly personalized and original sounds.


This is what im talking about in this video. The text is transcribed by AI, 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.

[00:00:00] Hey, welcome back to another video here on this channel.
[00:00:03] And today I want to try to create some kind of a pet,
[00:00:07] a nice textured pet inside the grid for Bitwig.
[00:00:12] And I'm starting of course with a poorly grid.
[00:00:17] And I'm going for an swarm oscillator,
[00:00:24] because it's always nice for pets.
[00:00:27] And I'm exchanging the envelope to an RDSR.
[00:00:32] And before I go much further, I'm adding a modulator,
[00:00:41] random, turn on B_PULR and smoothing to 100%.
[00:00:49] And let's let it run free.
[00:00:54] And modulate the spread value, just a touch.
[00:01:00] Duplicate this and modulate the pitch offset, just a touch.
[00:01:07] And activate more voices, so that would be helpful.
[00:01:31] And then we'll add a new one.
[00:01:37] And then we'll add a new one.
[00:01:55] And then we'll add a new one.
[00:02:01] And to get more stereo effect,
[00:02:30] we add one stereo split, one stereo merge.
[00:02:37] And between these two, we actually add all pass devices.
[00:02:49] So one on the left channel, one on the right channel.
[00:02:56] And we use different delays times.
[00:02:59] And maybe we can modulate these delay times, just a touch.
[00:03:28] And use maybe one of these delay modules here to create this kind of tape effect.
[00:03:35] Random modulator.
[00:03:41] And it needs to be Unipolar, yes, nice.
[00:03:47] Okay, that should be good.
[00:03:52] So let's add a filter.
[00:04:12] SVF.
[00:04:16] Let's leave that at 100%. So we have a pitch tracking or key tracking.
[00:04:40] And maybe use a second filter.
[00:04:44] And mix it together with a sum.
[00:04:51] Let's go for a mixer.
[00:04:58] Let's also modulate the frequency of this top bandpass filter.
[00:05:25] So the next one is the
[00:05:49] So this would be our first voice.
[00:05:58] Yeah, maybe just
[00:06:02] reposition all the modules with a small, like a compact accessible device.
[00:06:12] And maybe add another mixer at the end.
[00:06:17] And go for another oscillator.
[00:06:28] Let's go for the sine wave.
[00:06:31] And add one of these ADSRs.
[00:06:42] And go for a mod delay, because that always sounds nice.
[00:06:49] Yeah, maybe we can use this device again.
[00:07:10] So we have now basically a sine wave running through one mod delay.
[00:07:16] And the same structure we used on the top voice with the allpass filters at the left and the right channel.
[00:07:25] So we have more like a wider stereo field.
[00:07:30] So
[00:07:52] let's go for a sine wave.
[00:07:56] And we have a sine wave running through the other one.
[00:08:06] So
[00:08:28] maybe add some more modulations, because modulations are always nice.
[00:09:16] As you can see, I have no real plan what to create and what to wire up and what to modulate.
[00:09:23] It's more like a process, right?
[00:09:26] I try different things, try to come up with some ideas and just stick with stuff that sounds good.
[00:10:25] Ah yeah, let's modulate this to LFO, classical one.
[00:10:33] And let's go for the full range.
[00:10:38] Make it very slow.
[00:11:10] Okay, let's try and create some kind of a sequence for a texture on top.
[00:11:17] And I really like to use one of these gates and one of the pitches here.
[00:11:23] And
[00:11:27] yeah, let's try a sine wave again.
[00:11:31] And I'll use an envelope again.
[00:11:36] Turn this off and use the gate signal as an input.
[00:11:42] Maybe like this.
[00:12:02] Oh, don't use the, don't, we don't use the pitches because we still want to have all keys available to play.
[00:12:53] And then we have to use, because this is playing all the time, it's a bit annoying.
[00:12:59] Oh no, it's stopping.
[00:13:02] Because I changed this to gate.
[00:13:07] Let's use a face in device.
[00:13:17] And yeah, let's hook this up.
[00:13:23] Gate in.
[00:13:27] And maybe some logic stuff.
[00:13:31] So when we have
[00:13:37] this.
[00:13:41] Let's think about it.
[00:13:44] When we press a key.
[00:13:48] I have to use and select.
[00:13:52] So when we press a key.
[00:14:02] Okay, it looks weird because we have now multiple voices active.
[00:14:25] So you don't see the real value for each voice. So when we go back to voices of one.
[00:14:32] You see when we press a key.
[00:14:35] We now use the gate signal as an output.
[00:14:39] And when I release the key, it's going back to the input with zero signal.
[00:14:47] So we have no signal going into the select.
[00:14:52] So now let's use one of these scale,
[00:15:00] scalar devices here.
[00:15:04] Okay, let's duplicate this.
[00:15:32] And delay here again.
[00:16:06] And maybe use an attenuate.
[00:16:32] To change the volume over time.
[00:16:36] And use this ADSR here maybe.
[00:16:41] Let's use.
[00:16:44] Let's use this one.
[00:16:52] And maybe we can change the speed of the gate.
[00:17:21] Also with this, with this envelope here.
[00:17:25] So let's try this.
[00:17:27] Let's go for 12.