Creative Grid Usage in Bitwig

Tutorial | Apr 21, 2022

In this video, I discussed how to approach the Bitwig's grid differently. I explained how to use the filter as an oscillator, how to create kick drums with it, and how to deform envelope signals with a phase signal module. I emphasized that knowledge alone is not everything and that categories can be a barrier to further progress. I encouraged viewers to practice every day, to challenge themselves, and to think of small tasks to complete.

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Summary #

Hey folks, welcome back to another video. Lately, I've been trying to approach things differently in the Grid, taking a fresh look at modules and seeing them from a new perspective. One thing I’ve realized is that everything in the Grid has only one name but can be misused or repurposed for many other things. That’s why it’s so difficult to create a complete guide for the Grid in Bitwig. Everything can be used for anything, depending on the context you’re working in.

This concept, by the way, applies to almost everything in music production. Experience is often more valuable than just knowing what a device is supposed to do. You can combine two things that aren’t particularly great on their own, like a weak kick drum and a dull bass, and they might create the perfect mix together. A phaser designed for guitars can work wonders on a synth lead. A filter created for frequency shaping can also be used as an oscillator. When you let go of names and categories, you begin to see everything in a new light. Boundaries are removed, and you can experiment more freely.

In my opinion, this is the core of electronic music—taking devices out of their intended context and repurposing them. It’s about using a tool for what it can do, not necessarily for what it was designed to do. This approach works both in and out of the Grid in Bitwig Studio.

Let me give you an example: using a filter as an oscillator. When the Grid was first introduced, people wondered how to set exact frequencies on the oscillator, since it only has one note input. The answer? Use the filter. A filter has a large knob for adjusting the frequency, and if you turn the resonance above 100%, it starts to oscillate, giving you a sine wave at that frequency. Essentially, the filter becomes a sine wave oscillator, and the resonance control becomes a highly sensitive volume control. We’ve just redefined the filter as an oscillator.

To make things even more interesting, we can add an envelope module and use a triggers module to build a percussion element, like a kick drum. The frequency control sets the fundamental pitch, and the envelope can open the filter, temporarily increasing the pitch by adjusting the frequency. You can also use a band module, which is designed for phase shifting, to make the envelope signal steeper. When you check it out on an oscilloscope, the concept becomes clearer—you have solid control over both envelopes. If you want to go even further, you can connect two band modules in series for more control.

But the thing is, if I had made a tutorial just on the band module, I probably would never have thought to use it in this way. This is exactly why experimentation is so important. You can’t always predict how a module will behave in different contexts, and you’ll never learn its full potential by just reading about it. The more you experiment, the more you discover. Sometimes even knowing what a module does can limit your creativity because you might not think to use it in an unconventional way—like using a delay for distortion. Why would you think to do that? A delay is supposed to delay, right?

Breaking down categories in your mind can be tough. People tend to put things in specific boxes, and when they miscategorize something, it can block their perspective. Honestly, I sometimes wish I could go back to being a beginner, where I saw things without bias. You can learn so much from just experimenting or setting small challenges for yourself. For example, try building a patch with as few modules as possible, or avoid using envelopes to see how you can work around that limitation. It’s a great way to push yourself and learn new things every day. Practice is key to success and gaining new insights.

In today’s video, we learned how to use a filter as an oscillator, how to build a kick drum with it, and how to shape envelope signals using phase modulation. But beyond that, we explored how categories can limit our creativity, and how sometimes the best ideas come from thinking outside the box. Thanks for watching, and I hope you’ll have fun experimenting with these concepts. If you liked the video, don’t forget to give it a thumbs up, subscribe to the channel, and I’ll see you in the next one!

Transcription #

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.

[00:00.000] Hey folks, welcome back to another video.
[00:07.520] At the moment I often try to approach things differently in the grid.
[00:12.520] This includes looking at modules from a different perspective.
[00:16.960] Everything in the grid has only one name.
[00:20.160] It can be misused for many other purposes.
[00:22.880] That's what makes it so hard to write a complete guide for the grid of a Bitwig.
[00:32.480] Everything can be used for everything, and everything depends on the context.
[00:38.720] This concept, by the way, runs through everything that has anything to do with making music.
[00:45.600] And that's why experience is worth more than pure knowledge of how a device works or
[00:51.800] what it's built for.
[00:53.560] A bad kick drum combined with a bad bass can make the perfect mix.
[00:58.440] A phaser that was designed for guitars will also work well on a synth lead.
[01:04.840] A filter that was designed to filter frequencies also makes a great oscillator.
[01:12.160] Once you get rid of names and categories, you see the world differently and boundaries
[01:19.080] are removed or blurred.
[01:24.520] That's also the core of electronic music, in my opinion, who abuse devices properly,
[01:30.640] only naming them from their purpose and experiencing them again in completely different contexts.
[01:36.720] Of course, this works in the Bitwig's studio grid as well as outside of it.
[01:42.960] Let's take the example of the filter that becomes an oscillator again.
[01:47.440] I remember when the grid was introduced, the question came up how to enter exact frequencies
[01:53.080] on the oscillator, since it only has one input for notes.
[01:57.560] Well, the answer is the filter allows that.
[02:01.000] We have a big knob on the filter for the frequency.
[02:04.200] And when we turn the resonance above 100%, the filter starts to oscillate, and we get
[02:09.800] a sine wave with exactly that frequency.
[02:14.000] We have a sine wave oscillator with the frequency control.
[02:18.840] Resonance control became a highly sensitive volume control.
[02:23.160] We have redefined the filter as an oscillator.
[02:27.480] We now add an envelope module and the triggers module to trigger it.
[02:32.560] If we now want to build a percussion element or a kick drum, for example, we can use the
[02:37.320] frequency control and set the desired fundamental frequency.
[02:41.800] We can also make use of the envelope out and open the filter accordingly.
[02:47.680] The opening is equal to a temporary increase of the pitch, since we are changing the frequency.
[02:55.160] With the help of the band module, which is actually meant for changing phase signals,
[03:02.880] we can make the envelope signal steeper here.
[03:06.400] If we look at this in our oscilloscope, the concept becomes clearer.
[03:12.400] So we have limited but still quite good control over both envelopes.
[03:18.520] If you want, you can also connect two band modules in series.
[03:23.040] It works the same way.
[03:26.520] But here you can see that if I had made a tutorial about the band module, I would certainly
[03:32.200] never think of explaining it in this context.
[03:35.480] There are hundreds of these alienations.
[03:38.560] You have to find out by experimenting and trying.
[03:44.080] Knowing what the module does and how it works alone does not give you the experience of
[03:48.920] how many different uses you can make of it.
[03:52.960] And even turn into the opposite and the knowledge of what the module does can block your view.
[03:59.000] You wouldn't even think of using a delay for distortion.
[04:02.360] Why would you?
[04:03.360] It's a delay.
[04:04.360] And in a completely different category.
[04:07.600] Raking down categories in your head can be a difficult thing to do, as you can see all
[04:12.920] over the world when someone drops things into the wrong bucket.
[04:18.000] Sometimes I even wish I was a beginner again, that I could see things without bias.
[04:24.800] You can learn a lot even from children.
[04:28.440] That's why I always advise to try a lot or think of small challenges.
[04:34.840] So you can say today I build a patch with as few modules as possible, for instance, or
[04:41.600] I don't use any envelopes in try to solve it that way.
[04:46.960] Limit yourself, challenge yourself, practice every day.
[04:50.920] You always learn something.
[04:53.640] One is, as always, a key to success and to new knowledge.
[05:00.000] In today's video, we learned how to use the filter as an oscillator, how to build kick
[05:05.200] drums with it, that you can deform the envelope signals with a phase signal module.
[05:11.360] That knowledge alone is not everything.
[05:14.880] And that categories are often the barrier to further development.
[05:19.360] Thanks for watching.
[05:20.360] Have fun experimenting, give me a thumbs up if you liked the video, subscribe to the
[05:25.200] channel and see you next time.