Tags: posts polarity-music Bitwig Modulators Polymer fm-synthesis Additive-Synthesis Wavetable

Expanding the Potential of the Bitwig Polymer Synthesizer

Tutorial | Jul 03, 2023

In this video, I demonstrate how to use the modulation capabilities in Bitwig Studio, specifically with the Polymer synthesizer. I show how to use a small trick with a wavetable to get more out of the synthesizer and push it in different directions. I explain the concept of using modulators and how you can create different sounds by modulating different parameters. I also show how you can use the wavetable oscillator as a modulation source and create FM, subtractive, and additive synthesis within the Polymer synthesizer. Overall, I highlight the power of modulations in Bitwig Studio and how they can enhance your sound design capabilities.

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Questions & Answers

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

What is Bitwig Studio?

Bitwig Studio is a music production software that offers a wide range of tools and features for creating and editing music. One of its standout features is its modulation capabilities, which allow users to creatively manipulate sound parameters. In this video, the focus is on showcasing the modulation capabilities of Bitwig Studio's Polymer synthesizer and how to push its sound possibilities using a specific trick.

How does modulation work in Bitwig Studio?

Modulation in Bitwig Studio involves using modulators to control various parameters within a device or instrument. These modulators can be attached to different parameters, such as oscillators, filters, envelopes, and more. They can be set to modulate at different rates and intensities, creating dynamic and evolving sounds. In the case of the video, the focus is on using LFOs (low-frequency oscillators) to modulate the wavetable position and the index of different wavetables, thereby shaping the sound of the Polymer synthesizer in unique ways.

Why use the Polymer synthesizer in Bitwig Studio?

The Polymer synthesizer in Bitwig Studio is chosen for its simplicity and modularity. It offers a range of sound-shaping options, including oscillators, filters, envelopes, and a sub-oscillator. Additionally, users can attach various modulators to create complex and evolving sounds. While the same effects could be achieved using Bitwig Studio's Grid, the video aims to demonstrate the power of modulation within the Polymer synthesizer specifically, showing users how they can manipulate and explore its capabilities.

What is the significance of the DC offset device and wavetable in the video?

The DC offset device and the custom wavetable play crucial roles in the video's tutorial. The DC offset device simulates a constant value input, which can be modulated to create change in the sound. By using an LFO to modulate the DC offset, users can create audio rate signals, resulting in unique sound effects


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] Bitwig Studio is actually really great in terms of modulation capabilities and I want to show you in this video with the addition of a small little trick
[00:00:09] how you can get more out of the polymer synthesizer and can push this just, you know, subjective synthesizer in a lot of different directions.
[00:00:19] And of course you can do probably most of this much easier inside of the grid but some people prefer to stay out of the grid.
[00:00:27] And it's also a nice way of showing how these modulation, modulations work and what you can do with it and it also shows you how nice it is actually to have a nice modular DAW and to utilize all that stuff.
[00:00:43] Okay, so first we switch here to a different scene so you can see me in the top left. Okay.
[00:00:48] And then you can see here we have the polymer synthesizer. It's a fairly simple synthesizer, a subjective synthesizer that we have here an oscillator.
[00:00:58] And in this case here it's an, yeah, a wavetable oscillator. We have a filter. We have an amplitude envelope and we have also here a filter envelope and we have a bit of noise.
[00:01:10] We have also a sub oscillator and here some mixing features, low-cut pitch and glide. And we can also attach of course in the front here modulators, a lot of modulators and all kinds of different modulators.
[00:01:26] And the polymer inside itself is actually really modular so you can replace the wavetable here for a sign, right? You probably already know this.
[00:01:36] And you can also exchange here the filter. You can also exchange the envelopes. So it's pretty modular in itself.
[00:01:46] And because we can attach here modulators in front, it gets more modular, right? You can push this now in every possible direction.
[00:01:55] And I don't want to show you this. I don't want to show you some random modulations here just to show you how great modulations actually are.
[00:02:04] I want to show you something special and to actually bring you with me or that we are on the same page, I have to switch here to a different track first.
[00:02:16] And on this one here, we load up a DC offset device. Let's use this one and let's use here an oscilloscope.
[00:02:26] Okay, so when we use this oscilloscope here and when we move here, this slider inside a DC offset device, you can see something happens inside oscilloscope.
[00:02:36] So it's basically, yeah, you can create what values if you put these values out of a speaker box, you can see that the speaker cones are actually going out and in.
[00:02:50] Right, you can watch your speakers and you can say this is out and this is in.
[00:02:56] And when you modulate this here in with audio rate or pretty fast, you can actually hear a sound. So we can do this here with an LFO.
[00:03:06] You modulate this here a bit and then we maybe switch to kilohertz and then we get some kind of sound, right?
[00:03:18] So this is pretty nice. I actually have to use my headphones here.
[00:03:23] This is pretty nice. And what you also can do with these LFOs here in Bitwig, you can switch this to a pitch mode.
[00:03:30] So instead of using kilohertz or Hertz, which is pretty slow, you can switch to see the pitch of current note, which means now it takes the keyboard input.
[00:03:40] So your MIDI keyboard input or what you can or what you do inside of a note clip, right? You create just some kind of note clip and then you paint in some random note.
[00:03:51] And this note then is used inside of this modulator and we basically play the frequency of this note. Right.
[00:04:01] So we have here, let's say C3 that's probably 262 Hertz. So this LFO then plays 262 Hertz. So exactly at this frequency of this note.
[00:04:14] So you can play this LFO basically on this DC offset device, which is pretty nice. So in this case here, I'm just modulating this and then I play something on the keyboard.
[00:04:27] So you have basically some kind of monophonic synthesizer just by using this LFO in this pitch mode on this DC offset device.
[00:04:39] Okay. So this is needed for you to understand what we do in the next step. So I'm closing this down because we don't want to use actually the DC offset device in this case here.
[00:04:53] We use the polymer. So with the polymer here, we have some options. We can use a sign here and what we can do with this, we can instead of laying this normally,
[00:05:07] we can switch this here to a zero mode, right? And when this is on zero, nothing happens. We need an input. We need a phase input.
[00:05:17] Actually, we need to do the same thing we did on the DC offset device. We need an LFO and we switched to the pitch and then we need to modulate something.
[00:05:29] But there's nothing here we can actually modulate to bring a sound out of this sign oscillator in this mode, right? This is kind of a problem.
[00:05:38] It works with the phase four. So when I use here a different track, let's say a phase four. So here it's the same thing.
[00:05:47] You can attach an LFO and we can use here the first operator and can switch the first operator in the zero mode, right? We have one zero.
[00:05:57] So now it doesn't play anything. Yes. Oh, there's actually a sound coming out here.
[00:06:04] This face for. Yeah, we have to mute this. So we have only this one playing. So no sound is coming out.
[00:06:11] So what we have to do now here is to switch this to pitch mode as we did on the DC offset device and then modulate here actually the face itself.
[00:06:21] You can see in the bottom in the info box, it says our face zero. So we modulate this here by maybe 360 degrees.
[00:06:30] I don't know what's what's the need value is. You're probably one of the 80 360 degrees. It's basically a full circle.
[00:06:40] So now we get the sound and the sound is actually coming from this LFO or the LFO itself is in this pitch mode and we modulate basically at the face of this oscillator, which is in the zero mode.
[00:06:54] So when we change the shape of this LFO here.
[00:07:06] We get a different sound. We can also re-pitch the LFO.
[00:07:17] You get a different sound. So when you go to two here, basically you play twice the frequency of what you're using on the keys.
[00:07:23] When you input your C3, which is two hundred sixty two Hertz, you play basically twice the frequency.
[00:07:32] So whatever five hundred whatever Hertz.
[00:07:38] And when you go back to one, you play the original frequency.
[00:07:43] What this means is that this is basically also the perfect number for your harmonics.
[00:07:49] So this is the fundamental harmonic, the fundamental frequency of the note you're playing.
[00:07:54] And this is the second harmonic. This is the third harmonic and so on.
[00:07:58] Right. And you can also morph between these different harmonics easily with this LFO basically.
[00:08:05] So this is also important to know how this works on the face for to actually get what we do now with the polymer synthesizer.
[00:08:14] So I delete the face for you again. Go back to the polymer.
[00:08:18] So here we are back to this situation where we have this LFO and we need to modulate something like we did on the face for and also on the offset device.
[00:08:26] But here is nothing we can use to modulate to actually change the face.
[00:08:32] And if you open up here, the polymer synthesizer, you can look inside of the polymer synthesizer.
[00:08:37] And what we need to do is we need to we need to use this value here at this input. Right.
[00:08:43] We need to input this value here. But it's not possible because this is read only.
[00:08:48] We can convert this, of course, to a grid, to a real grid and then make this happen.
[00:08:53] But, you know, it's not possible in this mode, but we want to stay in this mode.
[00:08:58] We want to use the polymer as much as possible. So I thought of and now comes real the meat of this video.
[00:09:06] That's what I want to explain, actually, is what I did is to make this happen because there's no oscillator here you can use to modulate something.
[00:09:17] I'm using a wavetable for that. And they created the special wavetable.
[00:09:22] OK. And I show you this on zero because I created this in serum. So this is the wavetable I created in serum.
[00:09:29] The first table is actually minus one. The middle table, which is one at the index 128.
[00:09:39] Maybe I can scale this up. It takes a moment for whatever reason.
[00:09:46] And it's 129 at zero and 256. It's plus one. So what I do here is basically I fake and DC offset device very just modulated the slider up or down.
[00:10:00] If you can remember this and in here, you can also see this.
[00:10:03] If you move your the VTV or wavetable position to one, we have basically minus one.
[00:10:09] Then in the middle position, we have zero. And then here we have the plus one value.
[00:10:15] It's the same thing as the DC offset device. Right. If you watch this here, DC offset minus one zero and plus one.
[00:10:23] So it's the same situation. So I use this wavetable here or I created this inside of serum here and saved it as a wavetable wave file.
[00:10:35] So now we can use this wavetable inside of the wavetable oscillator of the polymer synthesizer.
[00:10:42] So we can take this here and I call this DC offset. You can see here we have basically minus one zero and plus one.
[00:10:53] OK. When we go here to 50 percent, we're exactly at zero. So this is the situation we have with the DC offset device.
[00:11:01] And all we have to do now is to modulate this index here with LFO.
[00:11:05] OK. So I do this here by modulating 50 percent. So now we have to see in pitch mode.
[00:11:12] So this one plays the frequency of the key we are pressing. We have to use here input.
[00:11:26] Right. So we can utilize this.
[00:11:34] To actually transfer this LFO in an audio rate mode to the wavetable position to create sound.
[00:11:46] It's actually a bit funny. You don't need to do this. It's just it's just funny to me to modify all that stuff and, you know,
[00:11:53] create different situations and possibilities.
[00:11:57] So now that we have this and we can modify or we can transfer basically a modulation values to sound or to
[00:12:08] audio rate signals with this wavetable inside of the polymer, we can do a lot of different things.
[00:12:16] So first up, we can create here the sign or maybe I use here an oscilloscopy. So again, you can see what's going on.
[00:12:25] So we can create here some kind of sign. Right. But basically what we have here.
[00:12:33] So we can change the shape and LFO, but we can also now duplicate here this LFO. Use a second one.
[00:12:41] And this one. And as you remember, we can dial in your second different harmonic. We can say we have the third harmonic of the key we are actually pressing.
[00:12:51] And then instead of modulating here also the wavetable, we modulate the first LFO. And what we're going to modulate is here the face.
[00:13:01] So this is basically now an FM synthesizer now. Right. So we modulate the face of the first oscillator.
[00:13:09] It's basically phase four inside of polymer.
[00:13:16] So let's go for 180 degrees. Right.
[00:13:24] So now the second LFO modulates the first LFO, but the face, not the frequency.
[00:13:30] But this is how frequency modulation works most of the times.
[00:13:34] You can also try to instead of modulating the other face, you can try to modulate the frequency itself.
[00:13:45] You get this kind of frequency mess you actually maybe don't want.
[00:13:49] It's maybe nice for creating some random sound design session. So whatever. Maybe you want to do this.
[00:13:57] But if you want to have musical results, you probably want to modulate the face by 180 degrees.
[00:14:11] So it's maybe nicer to get some bell sounds here, maybe go to the 10th harmonic.
[00:14:25] So now comes the important part. Also, you can select these modulators and can go to the left side in the inspector.
[00:14:33] And there you can use pair voice. So now these modulators become polyphonic.
[00:14:38] So if you press multiple keys on the keyboard, each of these keys, it's a voice.
[00:14:43] And each of these voices have a different LFO attached virtually. Right.
[00:14:49] It's the same setting, but you have multiple LFO stand for different keys.
[00:14:53] So you can play multiple notes at the same time.
[00:15:00] Right. Something like this. So now that we have this, actually, let me open up here multiple.
[00:15:10] So we need we want to modulate this because every time you press a key, we don't want to have the full modulation strength or amount here of the LFO to LFO one.
[00:15:20] So we can attach an ADSR or maybe let's use one of the new ones here, segments.
[00:15:28] Let's use segments and then dial in some kind of random envelope here and modulate basically, let's say, this one here.
[00:15:49] We'll get sound out of this.
[00:15:54] We attach some kind of delay.
[00:16:01] We actually don't need to use segments or an additional envelope here.
[00:16:07] You can also utilize here the frequency or the filter envelope.
[00:16:13] You can just use here the modulator out and then modulate the strength of the second LFO. Right.
[00:16:19] So this is completely possible.
[00:16:24] But here I want to use basically the segments one.
[00:16:37] OK, so this is basically now an FM synthesizer inside of polymer, which is actually just an subtractive synthesizer.
[00:16:45] You can push polymer into an FM synthesizer with the power of the modulators and with the power of this DC offset wavetable.
[00:16:55] I just use I also put this wavetable inside of the description below this video so you can just download it.
[00:17:01] It's just a wave file. You drag it in, drag it into here and then you can use it.
[00:17:06] It's actually just a user. It's just a simple wavetable.
[00:17:11] So now we have some kind of FM synthesizer here and you don't need to stick with just two LFOs.
[00:17:20] You can attach one hundred LFOs. So it's not limited to anything. Right.
[00:17:25] I just want to keep it simple for the sake of the story or to show you the concepts.
[00:17:29] But you can drive this even further. You can attach three, four, five, six different LFOs
[00:17:35] and just combine them and modulate cross modulate and whatever.
[00:17:40] So that's that.
[00:17:43] Instead of modulating here with the second LFO, the first LFO, you can also modulate the index itself.
[00:17:54] OK, so you modulate also this one.
[00:18:00] So now LFO one and LFO two modulate at the same time the index.
[00:18:06] So we probably want to tone down the amount of with both of them because they add up or they become louder.
[00:18:15] So now we basically play a root sign and this 10th harmonic sign on top.
[00:18:22] So we have an additive synthesizer now. OK, so we can create an FM synthesizer.
[00:18:27] We have a subtractive synthesizer and we have an additive synthesizer.
[00:18:33] So maybe go to the third harmonic or third harmonic tone down.
[00:18:42] We duplicate this one here, push this here and then this one also modulates the index.
[00:18:52] OK, and this one plays maybe fifth harmonic, whatever.
[00:19:04] Maybe I switch my one octave lower.
[00:19:10] So as you can see, you can also attach multiple LFOs now and modulate the index and you have some kind of additive synthesizer
[00:19:32] where you can dial in easily with these numbers here, harmonics, fundamentals. This third harmonic is the fifth harmonic
[00:19:40] and can add up sign, partials on top of each other and then create sounds with that just by using this DC offset wavetable.
[00:19:49] So this is also possible, right? But wait, there's more.
[00:19:55] Instead of using these LFOs here, we can use one of the new wavetable oscillators. Let me see, a wavetable LFO.
[00:20:04] Now it becomes interesting because also this wavetable LFO is basically the point of this is that you use basically wavetables as modulation sources.
[00:20:15] But also here we have a pitch mode so we can basically transform this LFO back to an oscillator. So an audio rate mode basically.
[00:20:23] So we can modulate also the index with the pitch mode, right? And again,
[00:20:38] we transform this wavetable level into an oscillator which modulates the wavetable oscillator itself with the DC offset wavetable.
[00:20:46] So it's kind of, you know, kind of wavetable seption or whatever you want to call it. It's not really needed.
[00:20:54] But now we have more possibilities because before we just had one wavetable at our disposal.
[00:21:02] We have just one wavetable and we can switch through the wavetable and that's it.
[00:21:06] But now that we basically moved the wavetable one level up onto the modulation matrix,
[00:21:13] we can use multiple wavetable LFOs. So let's duplicate this here also in pitch mode.
[00:21:21] So wavetable LFO 1, wavetable LFO 2. So now we can modulate with the wavetable 2 also here.
[00:21:31] Yeah, the index of this wavetable. And maybe let's duplicate this one more time.
[00:21:37] Also modulate with LFO 3 also the index. Okay. And why not? Let's do it again.
[00:21:46] So we have now 4. Let's open up everything up here. So we have also wavetable LFO 4.
[00:21:53] So with this one, we also modulate here the index by 50.
[00:22:03] So this is pretty interesting, you probably say. But now we can load on different wavetables.
[00:22:09] So here we load in this one. Here we load in strings. Here we load in this one.
[00:22:19] Maybe something that's a bit noisier or looks like a lot of noise.
[00:22:25] Yeah, let's go for this one here. Okay. So all these LFOs now modulate this wavetable index
[00:22:31] at the same time with the same amount. But that's not what we want.
[00:22:35] We pull everything down so nothing happens. There's no modulation amount now applied.
[00:22:41] So you can see nothing is modulated here. And now we attach here some kind of some x, y, or vector 4.
[00:22:53] So that looks good. So with vector 4, we can move here in each corner and can modulate something.
[00:23:01] So now we take basically here the top left corner and bring in the strength of this one.
[00:23:09] Bottom left is this one. Bottom right is this one. Top right is this one.
[00:23:17] Okay, so maybe you already get the idea. Maybe I move this here in front over here.
[00:23:23] Music
[00:23:43] So we can move between different wavetable LFOs.
[00:23:54] And each of these wavetable LFOs, of course, can also be modulated.
[00:23:59] So in this case here, maybe I use random mod, but you can also choose here.
[00:24:06] And what's it called? Vector 4 if you want to. So you don't need to use a random LFO.
[00:24:14] So with this one here, we go maybe for hertz. We go for nodes. We retrigger each time we press a key.
[00:24:20] We retrigger basically this random LFO and we go to smooth because we want to transition through the wavetable pretty smoothly.
[00:24:28] And then, yeah, it's also polyphonic. That's also important because we want to press multiple keys.
[00:24:34] So we modulate here the index of all of these wavetable LFOs.
[00:24:39] And because we want to have for each random LFO or for each wavetable LFO, we want to have a random phase or random index.
[00:24:48] So we use multiple of these things here. We modulate this.
[00:24:55] And here we go in there. Modulate index. We modulate this.
[00:25:01] Bam. So now every time we press a key, we randomly change the index of each of these wavetable LFOs.
[00:25:17] As you can see, every wavetable is changing randomly.
[00:25:27] And with this vector 4, we basically move through each of these wavetable LFOs.
[00:25:33] Very close to see a bit.
[00:25:53] Oh, that's a noisy wavetable on top.
[00:26:21] So with this kind of trick or the set up, you basically have a wavetable synthesizer with four different wavetables.
[00:26:31] And you can morph between these four wavetables smoothly.
[00:26:37] And you also don't have to stick with just four wavetables.
[00:26:40] You can attach as many wavetable LFOs as you want and can interconnect them in any way possible.
[00:26:47] You can also just do the same thing here with FM, right? Instead of modulating here the index directly, you can modify the phase of a different wavetable LFO at the bottom here.
[00:26:59] All right. We can basically do a four wavetable FM synthesizer inside of this modulation matrix.
[00:27:08] So there's basically no limitation whatsoever to your imagination.
[00:27:13] You can do everything you want to.
[00:27:17] What's important is that when you select your wavetable LFOs, you have to make sure that you use the pair voice option on the left side, right?
[00:27:25] So we can play multiple keys.
[00:27:28] Pair voice, pair voice, pair voice.
[00:27:32] Okay, nice.
[00:27:34] And this one also pair voice.
[00:27:36] So now we have multiple keys.
[00:27:38] And each key, each note you are pressing or you're using creates a new voice.
[00:27:49] And each voice gets a different random value for the position of the wavetable.
[00:27:55] And you can also morph between different wavetable LFOs at the same time.
[00:27:59] So we can add here another random LFO, maybe.
[00:28:04] Bring this in the middle.
[00:28:07] And modulate the index of this one.
[00:28:11] Maybe use a bipolar mode, of course.
[00:28:16] Pull this here.
[00:28:17] And also modulate this.
[00:28:22] And also use your bipolar mode.
[00:28:25] Okay, and that's the same thing.
[00:28:26] Okay, so let's try this.
[00:28:28] So maybe time for a real nice one, massive reverb here on this one.
[00:28:55] Let's go for spaces to place, of course, pull this down.
[00:29:01] So instead of using this here manually,
[00:29:30] with your mouse or with your controller,
[00:29:33] you just randomly modulate here the X and Y axis and make this random.
[00:29:40] And it morphs and moves over time.
[00:29:43] You can create nice lush paths with four different wavetables.
[00:29:48] Okay, so I hope I didn't move too fast through this,
[00:29:53] but I tried to press as much information as possible in this video.
[00:29:59] Because it's actually nice.
[00:30:02] I do use this.
[00:30:04] It's really nice to create interesting sounds,
[00:30:07] because you have now four different wavetables,
[00:30:10] and you have so much different combinations you can do with these modulations.
[00:30:15] So to recap this here, you need inside of the polymer,
[00:30:19] you need this DC offset wavetable.
[00:30:22] With this DC offset wavetable, you can move basically the modulation
[00:30:26] or the sound creation or the audio rate creation to,
[00:30:31] you can move this to the modulation matrix here in front.
[00:30:35] With the modulation matrix in front,
[00:30:37] you can use then the new wavetable LFOs.
[00:30:40] You can use LFOs in this pitch mode here
[00:30:44] and also with this pair voice mode to create sounds.
[00:30:49] And then you can attach as many modulators as you want of these types,
[00:30:54] combine them, either you just frequency modulate them
[00:30:58] or phase modulate them,
[00:31:00] or use them in an additive manner to create, you know,
[00:31:04] multiple sounds or multiple harmonics at the same time.
[00:31:07] You can use these numbers here as harmonic indicators.
[00:31:11] So one is just one time the frequency you are inputting
[00:31:15] or the key you are pressing.
[00:31:17] And two is twice the frequency, three is three times the frequency.
[00:31:21] So that targeting perfectly the harmonics.
[00:31:24] So one is the first harmonic or the root two is the first harmonic
[00:31:29] or you get it, right?
[00:31:31] You can target all the harmonics easily with this, just with this number.
[00:31:36] And yeah, you can combine this in all different ways.
[00:31:40] So additive synthesis, you have frequency modulation, phase modulation,
[00:31:46] and wavetable vector synthesis kind of modulation.
[00:31:53] So this leads to all kinds of interesting sounds.
[00:31:57] Of course, you can bring in here the scroll maybe.
[00:32:00] Oh, no, it's not possible.
[00:32:01] Yeah, if there's no scroll modulator.
[00:32:03] But everything you have access to inside of the modulator matrix
[00:32:09] is possible to integrate.
[00:32:11] I'm not sure. I think you can use the curve modulator.
[00:32:17] Curves.
[00:32:19] This one also has a pitch mode here, right?
[00:32:22] So with this one, you can also say, I want you, it's just the first LFO.
[00:32:28] It's the first LFO.
[00:32:29] So we want to modulate it phase, right?
[00:32:32] Let's go to 180.
[00:32:36] So the curve LFO here or the curves, it's actually an LFO,
[00:32:40] but it comes also now in oscillator with this pitch mode.
[00:32:44] So now what's this? This is smoothing time. Okay.
[00:32:48] So with this, you can kind of misuse these curves now
[00:33:16] as a scroll oscillator.
[00:33:18] You can draw in your own wave shape
[00:33:21] and then bring it into the mix and modulate something
[00:33:25] or cross modulate stuff.
[00:33:27] It's unlimited possibilities.
[00:33:30] And just with this trick here, with this DC offset kind of trick.
[00:33:34] I don't know if it's a trick.
[00:33:35] It's actually just something I tried out recently
[00:33:38] and I thought it's maybe interesting to show you.
[00:33:42] So with this smaller set up here,
[00:33:45] you can create all kinds of different synthesizers
[00:33:48] inside of this polymer interface
[00:33:51] or this native synthesizer with all this pros and cons.
[00:33:55] So you can save this as a preset
[00:33:58] and you have a nice interface
[00:34:00] because you have the modulators just in front.
[00:34:03] You can access them easily.
[00:34:04] You don't need to dive into the grid.
[00:34:06] You have all these cables inside of the grid.
[00:34:08] So it's an easy and very hands-on setup
[00:34:14] for this type of stuff.
[00:34:17] So I hope I explained this pretty clear.
[00:34:20] I didn't move too fast.
[00:34:21] If you have some questions about it,
[00:34:23] please ask me in the comments.
[00:34:25] It's not a problem for me to answer.
[00:34:27] I put the DC offset wave table in the description below.
[00:34:30] You can just download it
[00:34:32] and create all kinds of synthesizers.
[00:34:34] Maybe I create also some kind of preset here for the polymer
[00:34:38] with this wave table setup so you have a starting point
[00:34:41] or maybe something you can instantly try out.
[00:34:44] I thought it's worth the tryout to actually use this
[00:34:53] and create some kind of interesting sounds with this.
[00:34:56] So let me know what you think
[00:34:58] and I think that's it for this video.
[00:35:00] Thanks for watching and I'll see you in the next one.
[00:35:02] Bye.
[00:35:04] [