Creating Music in Bitwig Studio: From Zero to Something
Tutorial | Sep 09, 2022
In this video, I showed how to create a track in Bitwig Studio. I started with the Poly-Grid and added a pitch module, oscillator, merger, reverse, and the trigger module. I then added a sample and hold, transpose, chorus, filter, and reverb. I then used dice modules and added a kick drum, hi hats, and an arpeggiator. I then added a vocal sample, reverb, and a recorder. Lastly, I added a cool force to the master and a limiter to finish the track.
You can watch the Video on Youtube - support me on Patreon
Questions & Answers #
Maybe you dont watch the video, here are some important takeaways:
What is Inside Bitwig Studio? #
Inside Bitwig Studio is a digital audio workstation (DAW) designed to help create, record, and edit music. It is a powerful and versatile tool that can be used to create complex compositions, soundscapes, and audio effects. It features a wide range of features and tools for creating, recording, and manipulating sound, including a modular interface, audio routing, and automation capabilities.
What are the features of Inside Bitwig Studio? #
Inside Bitwig Studio features a modular interface for creating, recording, and manipulating sound. It includes a grid-based sequencer, a Note Editor, a modular synthesizer, an effect section, and a mixer. It also offers a range of audio routing options, automation capabilities, and the ability to add external plugins.
How can I use Inside Bitwig Studio to create music? #
Inside Bitwig Studio can be used to create music in a variety of ways. It can be used to create compositions with its grid-based sequencer, create sounds with its modular synthesizer and effects section, and manipulate sound with its audio routing and automation capabilities
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[00:00.000] Hey folks, welcome back. So today I thought maybe we create another track in Inside Bitwig Studio
[00:06.420] I think it's the best way to just show how we go from zero to something in Bitwig just to
[00:12.920] Inspire people to actually do something instead of you know going down to
[00:18.600] the grid and getting lost in complexity
[00:22.560] so maybe first year I increased the size of Bitwig Studio and
[00:26.760] And we start with the Poly-Grid of course because I really like to have some kind of background
[00:33.520] stuff going on in the scale of the
[00:37.200] Of the track. So here I'm taking a Poly-Grid and we maybe start here with the pitchers module
[00:45.520] Which gives us some some nodes and I put here some nodes into a scale
[00:51.840] Which is the D sharp minor scale, of course, you all know it. You all like it
[00:58.400] So let's define you some some some nodes
[01:03.680] Okay, so now we hook this up here to the oscillator, of course dial this up and the pre-code is off now and
[01:12.400] Also, we want to change here the face input
[01:15.720] So we use a face in connect these two and disable this so we have exactly the same
[01:24.000] Thing as before and then we use a merge
[01:29.240] And we connect this here also so we can switch between different inputs here. Maybe we increase here this to three
[01:38.840] And we use a mirror
[01:40.840] Yeah, so we can switch between different face signals and maybe what else
[01:47.080] Let's let's use a reverse here
[01:49.720] So we want to reverse or play this in reverse. So then we use a value
[01:55.320] here on top
[01:57.360] And just switch between the inputs and maybe go into interpolation to nearest so we can have a stepped switch
[02:04.840] When we switch it to mirror, we can see it's now playing back and forth
[02:08.360] Because we have a mirror in there and the reverse thing also place this in reverse, of course
[02:16.760] So we have three options here how to play this right and then we maybe
[02:23.800] Take this one here put this over there and also connect these two
[02:28.840] And maybe use triggers trigger modules here
[02:32.920] Duplicate these three times
[02:34.920] And to dial in of course your different trigger sizes, maybe six, seven
[02:40.440] Maybe nine something odd because I like to have groovy
[02:44.920] And to use a clock one tizer here
[02:49.320] And another trigger small tool whoops
[02:52.840] And connect these two and let's
[02:56.680] Let's synchronize this to 16 nodes here
[02:59.320] And now we can switch between different
[03:07.560] Different triggers here and also different phase signals phase input signals at the same time. Okay, and then we use this, of course to
[03:15.720] Trigger here the output of the or trigger the envelope actually
[03:33.960] Okay, so now that we have this we also need probably here a sample and a hold
[03:42.840] To get rid of these glitches between the nodes these bands these note bands
[03:50.040] Let's listen to this
[03:55.640] We also maybe need a transpose on octaver here. We want to probably change the octave
[04:06.840] Okay, that's also nice
[04:08.840] And what else can we use?
[04:14.440] Maybe we put here also a chorus in there chorus plus
[04:20.360] And switch it to eight voices
[04:23.080] Let's listen to this
[04:25.160] It's more like an unison
[04:32.680] There's a bit of diffusion kind of you know diffuse signal
[04:37.000] Maybe we put this here also in unison
[04:44.040] 16 voices and
[04:51.560] Maybe it would be nice to have an filter here. Maybe we go for a mook filter
[04:57.640] And we use a different envelope here
[04:59.800] And open up here the filter what we do this instead of with the
[05:07.000] With the modulator out here, we just take the signal out and put this here into the cutoff modulation amount
[05:12.120] Okay, so we are at 110 maybe we slow this down to not 66 85
[05:36.760] Okay, so now that we have this we switch the Poly-Grid here into voice stacking mode
[05:49.000] Three voices because we have here three options
[05:52.520] Use the voice deck modulator
[05:54.520] And for the first voice we stay on the first thing here. The second voice goes goes to the second input. So that's what you're latest
[06:06.920] And also the second input
[06:15.800] Maybe we switch it the second voice also one octave higher
[06:18.920] And the third voice one octave lower
[06:24.520] And maybe we slow this down so we select your Poly-Grid and go to the device length and maybe choose two
[06:45.080] Maybe disable also the pre-chord for the for the envelopes. So now that we have this we probably want to create some kind of reverb. So
[07:00.600] Um, we don't want to create a reverb, but I create a reverb. I pretty much like it instead of just using a
[07:08.200] default reverb or maybe use an
[07:10.200] Supermassive nowadays. So I'm going for fx grid here
[07:16.280] And inside of x grid here we use a split for instance a stereo split and the merge
[07:24.040] Want to treat the left and the right channel a bit differently
[07:28.840] Um, so we connect these two and here we hook up some all pass devices
[07:34.360] Um, something like this. This could be interesting
[07:43.480] Um, maybe
[07:48.920] Maybe a second
[07:53.000] Second block here of this
[07:55.000] So I feel like this
[08:03.000] Okay, so now in between these two blocks, we can also use maybe a chorus pretty slow modulated chorus
[08:23.000] Okay, then we maybe want to
[08:33.480] Here's some kind of feedback. So I'm using a long delay
[08:38.200] Going out into the long delay here maybe choosing
[08:42.840] Not here. Um pretty slow or pretty fast
[08:46.200] In delay time, I am probably going for three 16 notes of us delay and then I'm using a blend
[08:56.200] Oops blend here
[08:58.520] And then I'm blending in basically the output here into the input and this is more or less my feedback knob here
[09:05.240] So I can call this um
[09:09.640] Um this input one, okay, let's let's see how this sounds
[09:18.760] Okay, so maybe we need here some high pass and low pass things before we go back
[09:27.400] Um high pass low pass, let's see maybe 300 or 500 here, okay not that steep
[09:36.680] Um, maybe feedback here a bit less
[09:41.240] Let's see
[10:20.200] It's way too blurry a bit too blurry
[10:26.040] We'll mix in here the reverb
[10:31.000] Okay, so I need this more more lush
[10:33.800] Let's see what we can do. Maybe we can introduce here some more blurring with an all pass
[10:51.560] Um, maybe svf here an svf filter
[10:57.320] Um disable it the pre-chord
[10:59.080] And we have um let's see we we are in your we have a scale of d-sharp minor right so we can tune
[11:09.320] The the reverb to that so maybe go to c1 here use a pitch quantizer
[11:18.120] Dial in the scale of d-sharp minor
[11:20.120] Connect this here to the input of the svf so we are on the on the frequencies of the scale basically
[11:29.640] Use a value
[11:33.480] And then also use here a voice stacking to duplicate basically this voice multiple times so maybe let's
[11:39.880] go to five so we duplicate this five times and on each voice we tune this to a different note
[11:47.640] So let's go to um voice stacking here
[11:54.680] Um zero to one
[12:00.600] Okay use your macro because we can now increase here the resonance for all voices
[12:07.880] This works nice and maybe we can also randomize a bit to the pitch drift
[12:22.040] Um polyphonic yeah and we slowly modulated the cutoff just a tad
[12:40.200] And maybe you can also use a delay here and create some kind of modulation in there
[13:02.840] I take the same
[13:03.800] And maybe here the feedback is still too much
[13:17.240] Oh yeah we can also use the voice stack to change some
[13:20.840] all-pass delay settings here maybe we take this one here and just slowly increase
[13:34.040] So every voice basically has a different all-pass delay setting here
[13:37.880] Yeah let's go to 500 here
[13:53.080] 700 okay
[14:01.880] Yeah and maybe low pass high pass here at the end
[14:32.840] Something like this
[14:41.080] It's maybe not the best reverb but kind of works
[15:02.280] Could also introduce here a bit of movement see how this sounds
[15:17.480] Yeah randomize
[15:34.120] Synchronize this to maybe too fast half notes
[15:40.680] Uh maybe you can switch this here to xp and use your different bandpass filter
[15:51.880] And put a straight normal delay two here at the end nice
[16:11.080] Let's see how this sounds when I slow this even more down
[16:22.840] Of course we have so many notes here playing and there's so much reverb between the notes
[16:27.400] so maybe slow this down into four so we can also change here a bit of the envelope settings
[16:41.720] Go down to eight
[17:04.280] Okay so now that we have this we can use dice or two dice modules
[17:09.560] And every time we trigger the notes here we trigger also these dice modules
[17:17.240] And then we change the envelope settings
[17:23.640] Maybe this is the fastest setting here and then we open up delay times
[17:34.360] Or maybe use a different set just so we have different combinations
[18:07.800] Can also introduce some bit of pitch shift here
[18:11.000] That's the random module eight notes
[18:19.000] Bipolar three quarter notes okay let's see and let's see when we change the wavetable
[18:43.080] how this sounds
[18:53.080] I think it sounds nice so far for nice background drone maybe too fast already too many notes but
[19:14.600] Okay pull this down here a bit loudness wise
[19:32.120] Okay so this is the drone
[19:38.120] And that's the first track maybe go to Polysynth here and bring in some kind of pedal down
[19:44.440] or the root note basically of the track let's go to multiple
[19:52.520] Go to loop mode
[20:00.440] Um let's go for reverb chorus
[20:29.080] Let's bring in here the dominant in the fourth
[20:33.400] And spring in some modulation
[21:20.120] There's a pet sound
[21:29.400] Maybe a bass sound so use for most polymer
[21:40.520] It's probably also the root note
[21:46.600] But this time instead of I'm a bit lazy here with a bit of notes
[21:49.800] Make it a smaller bolt so we use a repeater maybe use here the Euclid mode
[22:02.120] This is a monophonic mode so we don't have overlapping notes
[22:50.200] Maybe unison here for the upper tones
[22:54.440] Or maybe speed this up a bit here
[23:25.000] Yeah randomize this
[23:38.520] And every time we hit a note here we hold this we don't need to have this polyphonic
[23:44.760] And maybe a bit of delay
[24:28.200] Let's push this here to the edge
[24:29.480] Go to minus three
[25:00.440] That's too fast
[25:10.920] Maybe an arpeggio
[25:17.560] And go to phase four
[25:22.200] And use the same note
[25:23.400] This time we use multi notes to create more notes of that so maybe suspended
[25:53.400] And delay too
[26:35.720] Three and pretty slow modulation not polyphonic
[27:06.520] Slide it to tune here the oscillator so we have a stereo effect
[27:22.040] And maybe we pitch this one off the fire
[27:53.000] And this is the arpeggio arpeggiator
[27:58.200] So nice um what else you can introduce your kick drum
[28:09.000] Maybe you can also use the um notes repeater here for this
[28:13.480] So we go for repeat note repeats
[28:23.720] And the quantizer
[28:24.760] And tune it until it sounds good
[28:35.640] Nice so a bit of sound design here for the kick drum
[28:49.240] Let's filter out here the midfiles of the kick
[29:02.840] Okay some hi-hats
[29:22.440] Just to set the same technique here just a bit faster
[29:44.680] And use some heavy randomization here maybe we go for a step step mod
[29:49.880] So we have the same sequence
[29:59.960] Oops this was wrong
[30:06.360] I've always bit problems with moving things around in bitwig and then bitwig
[30:10.680] collapsing different things and then I put it on something else and so on
[30:15.080] Something like this right I move it over here see it now it collapses this this bottom one and then
[30:23.480] I put it somewhere else so it's a bit yeah a bit strange sometimes
[30:32.440] Okay what else can we modulate this one here
[30:34.680] Maybe a second or a third one
[30:48.440] Oh yeah resonance is always nice
[31:00.280] Very much a legit frequency
[31:09.240] And different lengths here so we don't have overlapping sequences
[31:13.640] Maybe something there
[31:43.640] If you have the diffusion here down the zero gives you this nice
[31:59.960] It sounds almost like a grain delay but it's probably just all pass delays
[32:15.880] Can we bring in some more repeaters
[32:26.600] So a step mod at the end from the sequence here
[32:44.040] Okay let's bring in some
[33:14.520] Okay a bit longer 32 notes 32 steps
[33:24.760] Okay let's cut off here at the low end
[33:55.560] And maybe some real hi-hats here maybe go for xo
[34:03.880] And such some hi-hat samples
[35:03.880] And something like this
[35:19.880] Maybe a bit quieter
[35:24.600] So we have a nice little background loop here already already a bit
[35:36.360] modulating all the time so we got different
[35:38.840] Yeah different combinations and different alterations a lot of variation in there
[35:55.160] Maybe and bring in arcade bring in some vocals or something something organic
[36:11.160] Let's go to hooked here
[36:12.280] And choose something random maybe something like this download this
[36:27.640] You can switch this to minor and D sharp minor then trigger this from the keyboard
[36:40.120] Some reverb on it
[36:56.440] And tweak this I think there's just a playback setting here yeah off speed
[37:26.440] Maybe it's filled on there
[37:57.240] Lots of delays so no one hears what what's actually about
[38:16.760] Let me pitch this up here I think you have a octave
[39:16.760] Probably not the best idea but
[39:46.840] So maybe we bounce this before we fiddle around with this for hours
[40:04.920] I just bounce in place here probably the best we have the real effects on it bounce in place
[40:12.120] then I think we can disable this
[40:42.120] We need maybe a random mod here a pretty slow one bar maybe over six bars
[40:55.000] A slow fade of this envelope mod
[41:11.320] So sometimes the arpeggiator blends out and blends in over time pretty slowly
[41:41.640] Maybe we build a reverb for this FX grid
[41:52.120] Let's see let's use a recorder here
[42:07.640] And maybe use chance so we don't record all the time only sometimes
[42:37.960] A bit like it's a bit like a grain delay small one
[42:58.280] So we need to blend in and blend out here probably to get rid of this click
[43:02.280] Maybe instead of using these triggers I use a phase module here and use a scaler
[43:18.200] Get a faster phase output here maybe to eight and then use a logic operator
[43:25.000] Every time this is not zero we have here a trigger
[43:40.040] So basically every time this is zero or not zero which is 99% of the times
[43:47.320] we have a trigger out here and only when the phase signal is at zero we have an off switch off
[43:56.840] so we have recording all the time and then at the start of the sequence we slowly or fast switch off
[44:05.240] Okay so we have this and you can bring in the chance here again
[44:08.920] So it's not happening all the time but the playback is happening all the time
[44:18.040] Let's see how this sounds
[44:48.840] I think we need to
[44:56.040] retrigger this here probably so when this is zero then retrigger maybe something like this
[45:37.240] Probably you have to use a constant here for some reason
[45:39.720] Yeah, now we get the signal here.
[46:04.600] Recording is delayed. I think this is always a proper material. Let's use a logic delay here.
[46:10.600] But this makes no sense that it stops here basically in the middle of the sequence.
[46:38.040] And then we use a mirror here and continue it so we can slowly fade this in and out.
[46:51.400] This was the main idea. And then maybe switch this here to logarithmic so it's on all the time
[47:02.040] or mostly on and goes very fast back to zero. Only for the click.
[47:13.400] So okay, we have this.
[47:34.840] I don't know how it works when we have more of this.
[47:38.440] Let's go for a super nice feature just for test.
[47:51.880] What goes for the quality?
[48:07.560] Because of the mix here.
[48:13.320] Maybe we can use it for different things, different settings.
[48:44.280] What a different setting here.
[48:55.880] There is the slow machine.
[49:25.880] Nice. Yeah, we can try this in the context.
[50:25.880] And just play some notes.
[50:56.040] So also with Bitwig we can of course use your human eyes
[51:08.760] and change a bit the timing of the notes, also the chance
[51:12.360] and maybe randomize the velocity here.
[51:43.320] Okay, we randomize here this one too.
[51:55.800] And all the track needs is probably a clap.
[52:55.880] Not so not happy with the arpeggiator.
[53:07.160] So now I can see that the kick drum is peaking out a bit but it's
[53:10.920] you know that's what the kick drum used to do.
[53:14.600] Maybe bring this down here to the root of the track. I don't know. I have it on G.
[53:26.440] I think it's okay.
[53:33.880] What you can do is maybe put the cool force here on the master.
[53:36.680] Get rid of some resonances.
[53:48.360] Just put the TB meter on here. We want to have maybe for this type of stuff minus 12 or minus 10
[53:55.560] loops. Analyze this a bit. So we add around minus 12.5 which is exactly nice.
[54:12.520] And then we drive this just into an elevate. Multi-band limiter here.
[54:17.240] With the input gain of zero we end up exactly with minus 12 loops. Momentary max.
[54:27.960] You can see some of the kick drums are a bit limited as expected.
[54:42.760] Yeah and all it needs now is kind of an arrangement but I'm too lazy for this.
[54:53.240] So I'm saving this and maybe at some point I do something with it.
[54:59.640] Okay that's it for this video. Thanks for watching guys.
[55:03.240] Have fun on the weekend with Bitwig and see you on Monday. Have a nice weekend. Bye.
[55:13.880] Oh yeah this track I'm uploading this to Patreon of course. If you want to download this then make
[55:18.360] sure you subscribe there.