Creation of Night Flight - Generative-2023-01-17
Tutorial | Jan 17, 2023
In this video, I'm creating a generative patch in the grid from scratch. The patch consists of a pedal sound, a filter, a chorus, a reverb, a bass line, a sine partials sequence, a low pass filter, a sample and hold, a sync, and a step modulator. I'm explaining how to set up each component and how to make the patch sound more dynamic by introducing random values and attenuating the note range.
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[00:00.000] Hey folks, welcome back.
[00:14.880] Today we want to create something in the grid from scratch.
[00:18.760] We try to create some kind of generative patch and I want to use this patch to play on my
[00:25.360] other music channel.
[00:27.240] Just maybe for one hour or 30 minutes or so.
[00:30.680] So we need to do something that evolves over time and something generative that kind of
[00:37.880] changes over time in a certain way.
[00:41.480] So here we start with maybe 85 BPM and we are probably going to use some kind of pedal
[00:53.520] sound, which is just a static or just some kind of drone on a note or two notes.
[01:02.480] So we use here, let's start with sign, maybe we can also use here the swarm, bring this
[01:11.920] down a bit.
[01:12.920] Also you'll see my auto level thing, bring this down.
[01:27.960] So we need the output, actually here's something, nice works and then we use a pitch input,
[01:41.600] this one here to create some static note and we go for D sharp of course, bring this in
[01:49.360] here and we probably don't need an envelope because the drone is playing all the time.
[02:02.880] What we're going to use is probably a filter because we have a lot of overtones here, maybe
[02:08.280] we use the MOOC one, maybe an octave lower here, but we can use the ratio or the octaver.
[02:23.240] So if you like this, okay.
[02:30.360] And we also going to utilize here the stereo mode of the oscillator.
[02:35.560] So when we use here this one, we can change the frequency of the oscillator on the left
[02:43.760] channel differently than on the right channel.
[02:46.680] So sounds like this.
[02:51.680] So the right channel has now 27 hertz different frequencies on the left one.
[02:57.520] So if you like this, but to do this, we're going to use here a stereo split or actually
[03:11.560] use a stereo merge, this one here.
[03:13.920] So the left channel is one octave lower and use a transpose here.
[03:26.360] And the right channel is seven semitones higher, which is a fifth up.
[03:33.320] So let's, you can influence here, the oscillator differently on the left and right channel.
[03:43.360] So now we have basically different frequencies on the left and right channel.
[03:48.080] So we need to bring them together.
[03:49.920] So we use here and merge.
[03:54.480] Oh, we need to split this down.
[03:58.800] So we take here basically the stereo signal and only output the mono or the mid channel
[04:06.840] here, nice.
[04:32.720] Let's try here at the fourth.
[04:35.440] So nice.
[04:41.440] Let's stick with this one.
[04:42.920] So now we need to modulate this here, but so it's not too static over time.
[04:48.040] We kind of want to create a drone that, you know, slowly evolves so we can use some randomizers
[04:56.560] I probably can just visualize here the modulators on the device itself.
[05:01.920] That's not a problem.
[05:03.760] Let's go to three here.
[05:06.160] And then we use bipolar and also unsynced here, just hurts, just a slow, slow signal
[05:16.040] and then modulating at the spread a bit, see all the sounds can also duplicate this here.
[05:28.680] Just hold control and drag it down.
[05:30.600] So we have a new, a new modulator and also a new seed, as you can see, the signals are
[05:36.520] a bit different, evolved differently.
[05:41.960] So now we use this here for the loudness, brings it down, so we change the loudness
[05:54.960] just a tad, we can also change here the pitch, the pitch drift.
[06:05.040] We can use a bias that I mean, it's a bit much here.
[06:14.920] Let's try it a bit faster.
[06:23.960] It's too much here, so let's go to, to have a small little pitch drift in there.
[06:39.520] That's maybe too much, but maybe use two and then make it a bit slower, something like
[06:52.080] And then we use a chorus to make it a bit wider again, as we kind of made it here a
[06:59.280] mono signal.
[07:02.280] All right, that's also something we can modulate here.
[07:21.560] Maybe not bipolar, unipolar is okay.
[07:30.400] So now we get some overtones in here with the filter.
[07:37.640] And to make this a bit more fancy, we probably gonna implement some kind of reverb.
[07:45.040] So there is no way actually at the moment to implement or to use some VSTs here, so
[07:50.600] we can't use some reverb VSTs, but what we can do is we can actually can use either an
[08:04.560] external effect here with a modulator.
[08:07.960] Maybe I just try this.
[08:10.640] Let's use here DC offset, DC offset, chain, and that's the left channel, that's the right
[08:28.240] channel, like it's small.
[08:33.840] Then use a modulator out here and also split.
[08:41.480] So we get the signal here, put it into the left channel and the right channel, and then
[08:48.480] we modulate to the left one by using 0.99, we don't clip 0.99, bam, we basically get
[09:12.840] the signal here from inside of the grid to these modulators, modulated DC offsets to
[09:18.640] generate sound, but you can't hear the sound here because it's a note FX box and a note
[09:24.360] FX box doesn't leak audio.
[09:27.240] So we can implement here a super massive VST with a mix of 100% of course, maybe bring
[09:35.440] in here a large spaces to place, maybe that's too big, maybe dial this back a bit, also
[09:44.400] a bit of filtering.
[09:48.760] So now we need to bring in basically the send or bring in the return and to do that we just
[09:56.080] use here an audio side chain, so the side chain makes it possible to select something,
[10:05.640] so we can go here to the Poly-Grid, then we go to the note FX, we have a supermassive
[10:10.480] sound, but on here we have now the return from the supermassive and we can blend this
[10:21.720] in here, so we basically have now a VST inside of the grid and this is only really possible
[10:45.720] because this is a mono patch or a monophonic patch, if you try to create some kind of synthesizer
[10:52.920] and want to use the polyphonic mode of the grid then it's not, you know, you need for
[10:58.120] each voice such an FX layer here and need for each voice send and return, so it makes
[11:03.720] no sense, okay, so we have to return and maybe call the supermassive return and this is left
[11:17.520] out here, left send, right send, okay, so we know it's what's up here, so we have a nice
[11:35.280] drone here playing, changing the overtones, also changing a bit the volume, there's also
[11:42.760] a bit of modulation in there, maybe let's see, there's also something we can use here,
[11:57.720] a bit lower, but then we also have a bass in there, maybe we want to create some kind
[12:05.240] of different bass line, so bring this up here, see how this sounds, okay, so this is the first
[12:26.880] kind of channel here, let's use the label here and call this drone, this is the drone,
[12:45.560] so maybe next thing we want to create is the bass, so maybe go for a saw and here we want
[12:56.480] to use the value first and the quantizer, not this one, this one here and we want to
[13:10.240] play in the scale of D sharp, of course, let me bring this down, D sharp minor and with
[13:19.440] the bass we probably want to play only a certain kind of note, so probably the root, the fifth,
[13:27.080] the fourth, maybe this one, let's see and then modulate here of course the pitch and
[13:37.000] we need a low pass filter, no key tracking and we also select here and separate output
[13:58.160] and then we can change the notes of course, also attenuate, so the note range is not that
[14:07.480] big, so we only switch here between two octaves maybe and bring this down, let's see how this
[14:28.480] sounds, so we can switch between different bass sounds, this one doesn't sound good,
[14:55.480] let's take this one, switch to the pipe last we have here, we start at this note, you can
[15:19.880] see the starting note is basically here C sharp, what we want to start on the root, so we use
[15:25.680] a transpose, transpose here, insert 3, there you go here, now you can see the 0 here, when
[15:40.320] we are at 0 we are at D sharp instead of C, so every time we double click we end on the
[15:47.360] fundamental of the scale, this also sounds nice, so what we can do now is we can either
[16:15.640] sequence this here with a predictable sequence or we can just go for a dice instead of using
[16:26.880] the value here and just trigger this, now I use this trigger one, every time we click
[16:35.880] this we get a different note, this one, we also go in the negative range, that's way
[16:58.040] too deep, maybe limit here the range, also we also limit the range in the positive range
[17:16.360] and the positive, yeah positive range, that's way too deep,
[17:45.280] now we use the trigger, yeah that's just trigger one here, let's go only positive here and
[18:13.080] go super, super low, so we only modulate up, here's another transpose, actually no, that's
[18:33.880] okay, so like how it is, so we can use another modulator for that, so maybe it does it still
[19:02.280] too fast, right, this trigger signal here, you can scale this down, actually use a transport
[19:32.280] here, so when we hit play on the transport we reset the scalar and we just use the phase
[19:51.120] input from the transport here, so now we have kind of a baseline running, okay, so maybe
[20:18.440] we call this here super massive drone, this one right, we put this also into a layer here
[20:35.240] and then we do the same trick basically here again, DC offset, put this also into a layer
[20:46.160] and this one here is also left, right, we call it delay and that's what we use here for the
[21:02.680] next sound, bass, you can also here implement maybe with the lag some kind of light, okay,
[21:32.240] so this is maybe yellow, okay, so this is maybe yellow, okay, so this is maybe yellow,
[22:01.960] so we have a drone, we have a bass, so maybe create some sine partials on top, so maybe
[22:13.280] we take also approach to use a custom sequencer, so we use dies, dies and merge, maybe six
[22:28.360] steps and we step through these steps with the phase and we also want to interpolate
[22:47.520] the nearest, so we have really steps here, let me trigger, we trigger the dies here with
[22:57.240] one module, we can generate new kind of values, we use an attenuate to narrow down the range
[23:08.400] because sometimes the dies produces too high of values and it's not usable for pitch,
[23:14.960] so we narrow this down, then we use, let's use the Wavetable, so we can maybe play around
[23:22.560] with overtones, go into here and also let's use the pitch quantizer here, bam, also use
[23:34.240] the same scale of course, and then we use for the first time an envelope, you want to
[23:43.080] trigger, trigger thing here, but you also want to, okay, we need the pitch sample end
[24:10.080] hold, maybe use here also quantizer, clock quantizer, we quantize here 10 steps into
[24:26.600] 16 steps, empty to the same trick like before here, we use a split, a stereo split and then
[24:46.280] we modulate here, this time the second layer, here this one, the left goes in here, right
[24:59.840] goes in here, and then we use here, do the same trick, basically use a plant and a super
[25:20.320] massive return, let's call this delay return, pulle grid, pulle chains, note of x, chains,
[25:40.640] delay, post, and I think here I need to select something different, super massive drone post,
[25:56.960] so here the delay, we finally then need to, oh it's actually, put this here, okay, so
[26:08.240] here in the delay we can then also introduce a super massive, and the delay, you can see
[26:33.480] it's distorting a bit, we're probably having too much loudness here, so we dial this down
[26:42.600] a bit, maybe 80%.
[27:07.800] You can see it's going, it's going all into the red, okay, so here we go, okay, so here
[27:37.640] we go, quite interesting that it's so loud here.
[28:06.480] I need to just attenuate over here, so this is the send loudness, so here I'm in the yellow
[28:27.120] now, and here we can increase the loudness, let's use a view here, okay, so here we go,
[28:56.960] that's also nice, switching between the fifth and the fourth, so here we can now generate
[29:20.600] a new melody by just clicking the trigger, but it's the same rhythm, so we want to create
[29:36.760] also a different rhythm, we can do this by using a dies, and modulate it out, and modulating
[29:53.320] it trigger input, and go up to 15, so now I will try to trigger, we can generate a new
[30:04.200] melody, or new values for each step, and then also your different trigger amount that gets
[30:12.560] synchronized to the 16 notes here, maybe 14 or so, maybe switch this here to unison,
[30:42.480] so now we have basically here one setting for each step, so what we can do now is we
[31:02.480] can, these are basically the notes here, which is completely fine, so this is here the rhythm,
[31:32.000] so remove this over here, and do the same thing with these, and this is basically the
[31:38.640] wavetable position, but we want to change for each step, so it changes here in between
[31:57.440] because it's not matched here with the rhythm, so we also use a sample and hold for that,
[32:21.760] nice, maybe it's time for some kind of filter, probably low pass, and here, let's do the
[32:43.240] same trick here again, of course I really like to repeat stuff, and this is the filter
[32:52.880] position, filter mod, we go directly into the filter, and we need again a sample and hold,
[33:17.800] so it's matched with the rhythm, so the value changes only when the rhythm is triggering
[33:23.120] a new beat, or baiting a new trigger, so let's do this again for the resonance, we can only
[33:44.840] match this here with the modulator, nice, so that's what we're going to do now, and
[34:14.680] so here, do the same with the transpose, put this up with three semitones, so we have with
[34:27.280] the zero value also instead of C, we have the sharp which is three steps higher, so I want
[34:48.080] to also change here the steps for, this is the resonance here, resonance mod, and this
[35:02.280] is decay, so for each step we get now a different decay setting, so for each step we get now
[35:20.240] a different decay, now you can see we step through these individual sequences here at
[35:45.360] the same speed, so maybe we can change this a bit by using a sync, so we can say we want
[35:56.120] to have, or we can offset here the phase, you can see we flow through this a bit faster,
[36:06.240] and when we are at zero we have the same synchronization here, so we can use a dice for that, and a
[36:21.040] mod, and we change here this by maybe 12, so every time we generate a new sequence we
[36:33.360] also change basically the playback speed of this sequencer here, we get some kind of
[36:46.320] fully meter stuff going on, and you can do this here for this also, oops, so we can
[37:08.600] use a figure here too, so one time, so in another case, let's load it here, one time
[37:36.080] Maybe bring the drone a bit more in the background.
[37:42.600] You can see it's getting complicated quite fast, but that's how it is sometimes.
[37:55.920] So maybe we need to move this a bit here.
[38:26.880] I don't know where to move it, but what's the best here?
[38:30.480] I kind of, it depends on how I want to film it, right?
[38:34.520] I think for YouTube it's best to have it in landscape, but for Instagram I sometimes
[38:40.080] move this all the way around to have some kind of square or portrait mode.
[39:08.480] Okay nice, this works, and then modulate it to this, and this goes into that, right?
[39:18.000] And it goes into that, right?
[39:24.600] Now we get some nice movement here.
[39:32.640] What can you do here?
[39:33.640] And eight steps maximum, yeah.
[39:53.560] So you can see the melody is quite repetitive, that's my problem now, so I try to bring in
[39:59.280] some changes.
[40:02.320] Just, this sounds like the melody is just looping in one bar.
[40:06.800] Of course we can change the whole melody here just with one click, but I want to have, still
[40:13.320] with one click, more movement in the melody, so we can change this a bit here by changing
[40:19.680] the attenuate over time.
[40:22.640] So let's see, more LFO or maybe a step mod, step mod here, and make the slower, use a
[40:43.280] scaler for that, and we need to have phase input, and the end of the sequence, now we
[41:00.120] also need to, there's the play button, there it is, just copy this over here.
[41:13.120] So basically this is our melody sequence playing, and then we make this longer, this melody,
[41:20.080] and by just using the step values, and then changing maybe attenuate, at the end here
[41:29.240] we increase the note range, right?
[41:47.920] Okay, we can make this even longer by using a slower.
[42:11.120] We can also duplicate this here, bring in some random values, maybe modulate something
[42:33.600] different, maybe, let's see, that's not a good idea, maybe the filter, the filter is already
[42:51.880] modulated here, maybe we modulate here the step modulation, or the modulation amount
[43:00.080] here after, maybe switch this here also to interpolation, make this longer, so we have
[43:25.360] more resolution, nice.
[43:44.040] Maybe give this a different color I am, that's the base, this is the base, this is the base,
[44:13.880] this is the drone, maybe viewed meter, so we can see what's going on.
[44:36.720] So now we need to trigger basically its melody generator I am, every 16 bars or something
[44:54.160] like that, maybe too much, let's use an LFO, let's use an oscilloscope here, this is quite
[45:20.880] too fast, we go to switch to bar mode here and use 32 bars, so we get a long signal,
[45:35.160] so every 32 bars we end up equal, we end up at zero and we get a trigger here, let me
[45:55.500] get this trigger, we re-trigger here, or sequence, maybe 32 bars is too long, so let's go 16
[46:20.880] bars, sequence, you can see we are going down here, then when we reach zero we re-trigger
[46:37.020] the whole melody sequencer, instead of sync we probably have to use your scaler, instead
[47:00.240] of a sync, because it doesn't matter how you sync it, it's still the same phase, so it's
[47:07.760] ok, if you want to have some Poly rhythms going on we probably have to use your scaler,
[47:25.160] but for now it's ok, bring the drone down to C2, let's go to C2, let's go to C2, let's
[47:50.160] go to C2, as it's also something we can do we can switch the octave around, or the drone,
[48:08.000] because we have this long ass delay there, or re-rub for the super massive, it's actually
[48:14.920] not. We can't hear it. It's a bit smoothed out as switches. So we can just switch this around.
[48:44.920] Yeah, so we can hide this here. Oh, that's too much.
[49:13.640] Well, it's pitch mode here. It's a pitch mode of the of the drone.
[49:24.520] Now we just leave this running and explore new melodies over time.
[49:55.320] And maybe I have some ideas or some more ideas how we can evolve this a bit more.
[50:09.080] So an idea would be to actually modulate at attack time. This could be something.
[50:13.800] Move this out.
[50:22.280] It's over here. This is attack.
[50:52.680] See what the scaler is? So we try this out here with the scaler.
[50:58.840] But this time we don't use the retrigger here or the reset. So we go in there.
[51:08.280] Then go in here.
[51:12.360] We can slow this down the ratio, but maybe we use here
[51:16.360] also dies, just change the rate.
[51:26.360] And we don't need to synchronize actually here the rate to the layback speed or to the PBM or
[51:35.080] anything because the value that we get out of this runs through actually this dosent here.
[51:45.160] So we need a sample and hold. So here's a sample and hold.
[51:50.280] And the sample and hold then holds the value from the clock quantizer.
[51:57.480] So we modulate the decay. And because of the clock quantizer in the sample and hold,
[52:02.280] it's actually synchronized. We just take whatever value we get here.
[52:06.040] You can see it's running, not synchronized to anything.
[52:16.920] But that's exactly what we want. We want to have different combinations all the time.
[52:20.840] We put this here, put this there. And we modulate this again by maybe 12.
[52:39.640] Also sample and hold here.
[52:53.480] And this then
[52:59.160] is modulating here the attack time. Nice.
[53:01.960] You can see it doesn't overlap here the steps.
[53:21.080] I wish there would be an easier way to do this here because this is really powerful.
[53:26.040] And I also wish we had more steps than 8. Maybe 16 or something like this. And it would be also
[53:32.760] nice to have this horizontal instead of vertical. But that's just me.
[53:43.160] Maybe down.
[54:09.080] I don't know if this can run one hour. I think the drone is a bit too boring all the time.
[54:14.920] Also maybe need some kind of noise texture. Maybe you can bring this in.
[54:26.520] Yeah, let's see. Let's use a random mod here.
[54:34.760] Let's use the output here.
[54:36.120] Yeah. High pass.
[54:47.800] Maybe a filter.
[54:57.480] There you go, it hurts.
[55:15.160] Let's use a chance.
[55:32.680] So every time. So this is actually not really using the audio signal.
[55:37.320] The audio signal triggers this chance with your outputs just here, you know, a click.
[55:49.000] Let's go for AD in here. The other sounds.
[56:19.400] Okay, so we need to modify this a bit with DICE modules. Every time we trigger this,
[56:37.320] we get a new value. Then a modulator.
[56:42.680] Change the amount here.
[56:52.840] Change the resonance.
[56:58.920] We also need your stereo spread.
[57:01.240] So we have different randomizations on the left and the right.
[57:08.920] And you want to change the decay times here every time.
[57:39.160] I think that's nice.
[57:55.320] Maybe mix in a bit of noise.
[57:56.920] There is noise, of course, and high pass. Or maybe also SVF in there.
[58:15.800] Bring this down.
[58:27.080] Maybe we can utilize here the sequence up with this design.
[58:44.360] Or instead of this stupid line, we just need a modulator handle.
[58:59.480] Actually, no. No, no, no. That's a slow.
[59:01.560] We use a randomized bar. Maybe over the course of four bars.
[59:31.800] Wind noise.
[59:36.040 --> 01:00:02.520] Resonance.
[01:00:06.520 --> 01:00:20.520] And volume knob.
[01:00:20.520 --> 01:00:37.000] So this is here rain, whatever. Rain, wind.
[01:00:37.000 --> 01:00:49.480] Major effects.
[01:00:55.640 --> 01:00:57.000] Let's see how the sound
[01:00:57.000 --> 01:01:23.480] the chorus on there sounds a bit better, right? More physical.
[01:01:27.720 --> 01:01:41.480] Ah, the drone filter opens up for my taste too much.
[01:01:41.480 --> 01:01:55.960] Hmm, where do I put it? And this looks stupid here.
[01:02:12.120 --> 01:02:18.840] Could also switch here the wavetable. This would be actually really nice if you could
[01:02:18.840 --> 01:02:45.320] switch wavetables from within the grid.
[01:02:48.840 --> 01:03:03.320] Go down to C2 here.
[01:03:11.240 --> 01:03:16.920] So we could also sequence here that the rain goes away and comes back in and goes back out.
[01:03:16.920 --> 01:03:25.960] So take here another modulator, bring this down, dial this back in,
[01:03:28.440 --> 01:03:38.920] and maybe 16 bars and it's randomized. So the rain comes slowly in, goes slowly out.
[01:03:38.920 --> 01:03:49.080] You can also blend between rain only and wind only, or a mixture of both.
[01:03:49.880 --> 01:03:53.400] We could use also modulator here for that.
[01:03:53.400 --> 01:04:10.440] 30%, or maybe not. There should be always kind of a mixture of both, 30%, maybe 40 bars.
[01:04:10.440 --> 01:04:22.920] Now let's go to 7.
[01:04:22.920 --> 01:04:39.560] Oh yeah, we wanted to switch here between different octaves, right?
[01:04:39.560 --> 01:04:52.040] We do that the most economic way.
[01:04:52.040 --> 01:05:08.520] Oh, there's no sound from the melody at all at the moment here. Okay, interesting.
[01:05:22.360 --> 01:05:27.160] So we switch between the two here by using a scalar,
[01:05:31.960 --> 01:05:36.120] using also your playback to synchronize this.
[01:05:44.760 --> 01:05:50.600] And then they always fiddle around with the parameters while I'm hearing it.
[01:05:50.600 --> 01:05:54.040] Every time we trigger a new sequence, you can see or you can hear
[01:05:55.160 --> 01:06:00.040] that you have sometimes extreme values that don't work, so I dial them back then immediately.
[01:06:02.760 --> 01:06:05.480] So a scalar, so we make this pretty slow.
[01:06:09.000 --> 01:06:10.840] And then we use a dies.
[01:06:10.840 --> 01:06:27.320] Actually, this one, modulator out, and then we switch here to octave one up.
[01:06:41.800 --> 01:06:44.440] You can see now we're modulating the octaver.
[01:06:47.400 --> 01:06:55.080] And we switch basically the drone one octave up, and sometimes we are the same as before on the
[01:06:55.080 --> 01:07:00.840] default minus one. And we can even go up to two.
[01:07:00.840 --> 01:07:13.320] And it's completely randomized.
[01:07:13.320 --> 01:07:31.800] And the bass is a bit static. Do something about this.
[01:07:43.720 --> 01:07:49.800] Maybe could also use your stereo mode
[01:07:52.680 --> 01:07:55.080] and then use a split.
[01:07:59.480 --> 01:08:07.800] Only use the mid.
[01:08:07.800 --> 01:08:24.280] So kind of a nice hobo bass that fluctuates in loudness.
[01:08:28.040 --> 01:08:32.200] I don't know if the mix is actually nice. I have only headphones at the moment.
[01:08:32.200 --> 01:08:44.680] And it's five o'clock in the night, so I have no idea.
[01:09:02.520 --> 01:09:15.320] I bring this over here.
[01:09:15.320 --> 01:09:29.800] So a bit more space on the screen.
[01:09:29.800 --> 01:09:44.280] Maybe the bass is too loud.
[01:10:00.120 --> 01:10:27.240] We could also slow down at the trigger modules by modifying the phase signals. This could
[01:10:27.240 --> 01:10:39.720] be also something each time we randomize.
[01:10:39.720 --> 01:11:00.600] But I think that's it for this video. I think that's enough. I've already a 50% CPU load
[01:11:00.600 --> 01:11:14.920] or DSP load. And I have a pretty beefy CPU, so I don't want to make it too complicated.
[01:11:14.920 --> 01:11:31.400] Okay, so let's save this here.
[01:11:31.400 --> 01:11:43.880] 17, a night flight.
[01:12:01.400 --> 01:12:21.880] So we could for the video actually could use some more external effects here on that.
[01:12:21.880 --> 01:12:34.360] So maybe we can put the supermassive on there and make this even more lush.
[01:12:34.360 --> 01:12:50.840] And sometimes I like to use a slow machine on there.
[01:12:57.240 --> 01:13:00.200] Right, so you have the same sequence just slowed down
[01:13:00.200 --> 01:13:07.800] one octave lower and then you mix it in with the original and it makes it or it sounds like it's
[01:13:07.800 --> 01:13:18.760] more complex than it actually is. And it layers also the the signal with the signal itself pitched
[01:13:18.760 --> 01:13:31.240] down which gives it some kind of texture, additional texture.
[01:13:31.240 --> 01:13:43.720] So
[01:14:01.880 --> 01:14:17.560] so you can utilize some VST effects here and put this on top.
[01:14:21.800 --> 01:14:27.000] Maybe if you want to make a track out of this you could probably redirect the base
[01:14:27.000 --> 01:14:33.320] out of the patch here. Also here like I did here with the DC offset.
[01:14:34.520 --> 01:14:37.640] Just get the base sound out and mix it separately
[01:14:38.920 --> 01:14:43.480] and then put all the effects on the rest of the stuff. That's something you can do.
[01:14:43.480 --> 01:15:01.000] I think it kind of sounds nice. Maybe the portal stuff is too much.
[01:15:06.360 --> 01:15:09.800] Okay, so that's it for this video. Thanks for watching.
[01:15:09.800 --> 01:15:15.960] I leave this thing running and recording and put the video up on my
[01:15:16.760 --> 01:15:22.360] Polarity Music Only channel. The link is in the description if you want to listen to that.
[01:15:23.160 --> 01:15:30.120] And besides the link to this patch is in the description also. So you can download this
[01:15:30.120 --> 01:15:36.360] if you have the current Bitwig version running on your PC. So you can download this and fiddle
[01:15:36.360 --> 01:15:42.840] around with it. Maybe create some tracks with it. I don't know. If you have some ideas send it in
[01:15:42.840 --> 01:16:08.840] the comments. Leave a like, subscribe to the channel. Thanks for watching. See you next time. Bye.