Tags: posts polarity-music Bitwig Audio-FX

Synthesize Low-End with Tree Monster in Bitwig

Tutorial | Jul 25, 2022

In this video, I demonstrated how to use the Tree Monster to add low-end to snare sounds and other audio signals. I showed how to use the Tree Monster to analyze the audio signal for resonant frequencies and then synthesize a sine wave to it. I also showed how to adjust the settings, such as the frequency range, speed, threshold, and mix knob, to get the desired sound. I also suggested using a Transient Shaper for extra sound design and bouncing the sound for stability. Finally, I showed how to use the Tree Monster to analyze vocals and other tonal sounds.

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Questions & Answers

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

What is the Tree Monster in Bitwig?

The Tree Monster in Bitwig is an audio analysis tool that can detect frequencies and resonances in an audio signal. It then synthesizes a sine wave to match the frequency and resonance of the audio signal, allowing for users to add low-end to the sound.

How can the Tree Monster be used for snare sounds?

The Tree Monster can be used for snare sounds by setting the frequency range between 1k and 2k and adjusting the speed, threshold and ring blend knobs. The speed knob determines how quickly the oscillator reacts to the frequency changes of the input signal, the threshold knob adjusts what frequencies are left out of the analysis and the ring blend knob blends in the original dry signal and amplifies the dry signal with the oscillator. Mix knob can also be used to bring in the original dry signal.

How do I use the Tree Monster to add low-end to a kick drum?

To add low-end to a kick drum, set the frequency range to the lower end of the spectrum and adjust the speed, threshold and ring blend knobs. Additionally,


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 today. It's about the tree monster and I haven't used three months in a long time
[00:05.760] but recently I rediscovered it for
[00:09.320] synthesizing nice low-end to stuff
[00:13.200] So here I have a sampler with a nice little high-pitched snare in it
[00:19.720] It's basically just a clap or some noise and you have bit of distortion
[00:24.620] So that's that's nice, but you know using this for snares, maybe
[00:32.380] It's actually better than this way
[00:34.940] using this for snare is
[00:37.580] Probably too much high-end and too less low-end. So I use tree monster for that and
[00:43.900] the tree monster tries to find
[00:46.420] peaking resonances in your audio material and synthesizes
[00:50.040] A sine wave to it. So we just could probably just use here the sampler and
[00:58.600] Use it in parallel with the E snare of Bitwig and
[01:02.840] Just lay down a sine wave below the the clap
[01:08.640] Something like this
[01:10.640] And it's perfectly fine to do it this way
[01:21.840] But this time I want to use the tree monster for that
[01:24.280] So let's turn it on and it tries to find peaking resonances
[01:29.120] Frequencies that are peaking at a certain range and we can dial any other range with these two sliders and I usually go for the
[01:37.280] 1k region and
[01:39.280] I have to mix knob 100% your speed knob a bit dialed down
[01:45.680] You can see it tries to find here
[01:48.800] This frequency which is probably the most resonant or actually the peaking resonant that goes above the threshold here
[01:57.800] So we have also threshold
[01:59.800] So we need to amp up here the speed so the sine partial is reacting a bit faster to the analyze signal
[02:09.640] Not too fast or it becomes kind of an FM sound because the oscillator changes the frequency too fast
[02:17.480] Kind of like this so it's more like a stable sine partial and we can also dial in here to reach in a bit more use the threshold
[02:37.480] So something like this and then we have here the ring blend
[02:40.920] But spend blends basically between if you have to set zero you only can hear the synthesized sine partial
[02:48.600] So it's only the oscillator playing with the analyzed frequency of the input signal
[02:53.680] And then when we dial in here the ring blend we blend in the original dry signal and also amplitude
[03:00.240] modulate the dry signal with the oscillator
[03:03.360] And then we can also use the mix knob to bring in the original try signal
[03:15.360] So something like this so now we have a sine partial playing
[03:18.960] beneath the clap sound or this snare sound here and
[03:24.960] synthesizing a
[03:26.720] fitting
[03:28.280] sine partial to it
[03:30.280] Now you can pitch down the oscillator here by minus 12 semitones, which is an octave lower
[03:38.240] To get more like of a deeper meaty sound
[03:43.280] Or maybe two octaves 24 here
[03:47.120] And now it sounds more like a snare sound right so a nice drum bass snare sound
[04:01.160] And you can decide about the mix knob if you want to more have more of the oscillator
[04:07.200] More of the snare sound
[04:09.200] It's quite a difference, right?
[04:21.200] And then we have here some distortion everything goes into the distortion device to clue it a bit together
[04:30.320] So we go basically from this to this
[04:45.240] So it's a nice way of synthesizing actually low-end to some noise signals or to some random signals
[04:51.960] So instead of using
[04:54.080] You know some kind of waves plug-ins where it tries to synthesize low-end to something you can use a tree monster
[05:00.040] It analyzes the audio signal for pitch and peaking resonances
[05:05.120] synthesizes and sine partial to it and then you have influence here with the pitch to actually pitch down only the oscillator and
[05:11.800] maybe go knock the floor to bring in some
[05:15.120] some real deep low-end and with speed knob here you can change how fast the oscillator reacts to the
[05:22.240] frequency changes of the input signal and of course a threshold here to change what kind of
[05:27.880] Frequencies are left out of out of the analyzes and also here a frequency range
[05:34.960] Slider, so maybe when you want to analyze some kick drums you probably go down here to the one on that
[05:40.800] Hertz region or something like this. Maybe you can also use here a different snare sound
[05:50.680] Something like this also high-pitched right and probably also the same
[05:54.160] There's something like this, it's also a loop okay key tracking off
[06:04.080] So we have this sound
[06:09.640] It's also synthesizing as low-end to it
[06:12.000] And it's more up to you and what what region you are going to because this clap sound
[06:27.120] Has a lot of frequencies or noise actually going on in the top region
[06:31.800] But from in my opinion the best way is to actually go to the 1k
[06:35.840] Regineer because that's where the magic happens for snare sounds and then use what you analyze here and pitch it down by
[06:44.680] 1 octave or 2 octaves and just put it beneath the sound
[06:51.200] And I use also your close a close region because I don't want to
[06:56.640] the oscillator to kind of skip around
[07:01.080] As you can hear
[07:03.080] It has a lot of noise here analyzing the pitch and tries to oscillate to adapt to it
[07:13.920] So it's probably better to use just a close range here
[07:17.040] Yeah
[07:19.040] Maybe use a transient shaper here
[07:34.240] So it's perfectly nice device to synthesizing low-end in my opinion
[07:52.880] Let's see if I find just some kick drums that are
[07:55.600] Needs some low-end
[08:08.160] So this one maybe here this has not a lot of low-end in it or actually turn the key tracking off maybe use high pass here
[08:18.080] So let's say you have this kick drum which kind of lacks low-end so put this out here put this down
[08:34.320] So we go down into this region or analyze where yes, you can see it happens something here some kind of overtones
[08:41.800] Bring down this threshold and then we pitch basically everything that happens here
[08:51.520] Down to two octaves lower, so we synthesize our sine partial here and then pitch it down
[09:12.400] Maybe a transient shaper again
[09:14.400] And then bounce it down so my tip would be to actually make sound design with this and then bounce it to a real audiophile
[09:30.840] So nothing changes over time right so this kind of can react to all kinds of different changes to do in the sound here
[09:39.280] So it's not really stable so you can if you want to have like you know you do drum bass and you want to have the same
[09:47.520] kick drum every time 100% then you probably want to bounce this here so maybe do something like this
[09:56.720] And then use this kick drum inside the sampler to have a new kick drum so it's a nice sound designing tool in my opinion
[10:24.160] The stream monster here and it does a lot of uses it's also nice to analyze basically for a kind of a pitch tracking device
[10:33.840] so when you want to analyze some vocals something like this and you want to put a sine wave beneath the vocals
[10:40.000] or you want to use it to analyze some single tonal sounds then this is really great actually
[10:49.200] And I rediscovered this for snare sounds like I showed you here so nice tip from polarity today use stream monster
[10:57.600] Thanks for watching leave a like if you liked the video subscribe to the channel thanks for watching until next time see you and bye