Infinite unique Reverbs in Bitwig

Tutorial | Dec 20, 2024

In this video, I explore various reverb techniques in Bitwig Studio, focusing on how to enhance sound without relying solely on additional VSTs. I demonstrate using the reverb plugin, combining impulse responses with algorithmic reverbs, and creating unique rhythmic effects with convolution and delay devices. Additionally, I experiment with Bitwig's grid and other built-in tools to showcase how versatile and creative sound design can be achieved within this digital audio workstation.

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Summary #

Maybe you don't watch the video, here are some important takeaways:

Hey folks, welcome back. Today, I want to inspire you with some techniques to enhance your sound using the basic piano, specifically the PianoTeq One, alongside some hidden reverb tricks within Bitwig Studio. We'll explore how to improve sound without resorting to just another VST.

In Bitwig Studio, we have various tools for reverb. We'll start with the basic reverb plugin, which is all-pass based and provides options for early reflections and late mix. To demonstrate, I set it to 100% wet. The sound is influenced by what we place in the Tank FX or Wet FX, affecting the feedback path internally. This allows us to adjust reverb time, which is essentially controlling gain in the feedback path.

By using devices from Bitwig Studio, like a tool device for amplification, we can extend the reverb sound. I showed how adjusting the Tank FX could change the decay of the reverb, making it louder over time if amplified too much. An EQ lets you manipulate frequency buildup, highlighting the importance of balance to maintain a smooth fade-out.

I introduced the chain's wet gain and learn button, which helps match the output volume to the input volume, ensuring stability in loudness. Using an EQ can subtly shape frequencies, avoiding harsh buildups. By doing so, you maintain a gentle fade-out of the reverb tail.

Further, I experimented with different effects like blur, an array of all-pass filters, and a chorus to tweak the reverb in Tank FX and post FX, crafting the reverb to my liking. But be cautious; changes to the Tank FX accumulate over iterations.

I also combined algorithmic and convolution reverb for a realistic depth. An example was using impulse responses from Revolution, a convolution reverb. Moreover, Delay+ was leveraged not just as a delay but using its diffusion algorithms as a reverb effect, allowing flexibility with soft or space-like settings.

Multiple configurations, such as combining a convolution reverb with the Delay+, resulted in unique reverb textures. You can choose different delay units, synchronize to the beat, and use modulation for creative pitch effects, showing how permutations result in diverse sonic outcomes.

Then, I delved into creating my impulse responses, demonstrating with a Valhalla delay. Using a test tone and Rolling Sampler, I made custom reverb samples to be used later for convolution effects. Similarly, layering other devices like Supermassive created tailored rhythmic reverbs aligning to project BPM.

Continuing, I explored the Poly Grid to generate custom noise-based impulse responses, exhibiting how modulation creates complex rhythmic textures. By bouncing these out, I made samples for convolution, exemplifying a methodical approach in constructing reverbs from scratch.

For a more experimental option, the frequency shifter's delay setting provided a distinct sound. With feedback and blur devices for diffusion, these setups yielded a physical-like texture, adding another layer to reverb diversity.

Towards the end, I constructed feedback chains in the FX Grid, showing how splitting and merging various delay paths, adjusted by synchronization and modulation, morphs the reverb's character. This method presented a stereo spread and dynamic response not achievable with conventional means.

In conclusion, Bitwig's myriad tools allow for the creation of unique reverbs by chaining together various devices and effects. This video aimed to spark creativity in using Bitwig's native resources, pushing the boundaries of what can be achieved beyond standard plugin reliance.

Thanks for watching, subscribing, and if you have questions or comments, feel free to leave them below. Until next time, bye!

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.

[00:00:00] Hey folks, welcome back.
[00:00:02] Today I want to give you some inspiration,
[00:00:04] what you can do with the basic piano here,
[00:00:06] the piano tech one I'm using all the time,
[00:00:10] and some hidden reverbs in Bitwig Studio,
[00:00:12] or not some hidden reverbs or let's say some reverb tricks,
[00:00:16] how you can improve your sound
[00:00:18] without using just another VST.
[00:00:22] So in Bitwig Studio we have a lot of different things
[00:00:24] we can use for reverb.
[00:00:26] So the first stop is here, the reverb plug-in itself,
[00:00:29] very basic, just an all-pass-based device,
[00:00:33] some early reflections, and then here a late mix.
[00:00:36] It sounds like this, I'm using this here, 100% wet.
[00:00:39] (gentle music)
[00:00:42] So the interesting one is here, the late mix,
[00:00:57] and we can influence how the reverb sounds
[00:01:00] by putting something into the Tank FX box here,
[00:01:04] or the Wet FX.
[00:01:05] So Wet FX is everything that comes out of the reverb,
[00:01:09] and we just want to use Post FX on the reverb tail,
[00:01:14] but we can also influence here the feedback path internally.
[00:01:19] So we can use devices from Bitwig Studio
[00:01:23] and put something into the feedback path,
[00:01:26] which makes it highly interesting.
[00:01:28] And this knob here says milliseconds and seconds,
[00:01:31] and you can increase the reverb time.
[00:01:33] And this is not really true
[00:01:35] because actually I think internally just a gain knob.
[00:01:40] And the more you apply gain to the feedback path,
[00:01:43] the more or the longer the reverb tail is.
[00:01:47] So when we put here in the Tank FX,
[00:01:49] let's say a tool device, which is just an amplifier,
[00:01:55] and we amplify here the volume a bit more,
[00:01:57] we can make the reverb sound longer, okay?
[00:02:00] So this is here how it sounds at the moment.
[00:02:03] (gentle music)
[00:02:05] And then it slowly fades away.
[00:02:09] And we can make the shorter by, you know,
[00:02:10] making here the reverb a bit shorter, let's say two seconds.
[00:02:14] But like I said, this is not true, this thing here,
[00:02:22] if you put something into Tank FX.
[00:02:23] So let's increase here the volume in the Tank FX.
[00:02:27] (gentle music)
[00:02:29] Right, so you can make the reverb sound longer
[00:02:43] and make it even become louder over time
[00:02:47] if you amplify too much, right?
[00:02:49] So the feedback or the output is louder
[00:02:53] than the input of the whole path
[00:02:56] or the feedback chain or the feedback path.
[00:02:58] So yeah, you can make this infinitely long if you want to.
[00:03:05] So this knob here is just true
[00:03:08] if you have nothing that changes the loudness
[00:03:11] inside of the Tank FX.
[00:03:13] So let's put here an EQ in there.
[00:03:17] So the EQ changes the frequencies
[00:03:20] or the loudness of the frequencies.
[00:03:22] So if you do this here too much,
[00:03:24] if you amplify certain things,
[00:03:25] these frequencies build up faster and more over time.
[00:03:30] So you can see here we're already building up, right?
[00:03:36] So this is also some kind of tool, but for frequencies.
[00:03:41] So the more you change your frequencies,
[00:03:44] the more you influence how much frequencies
[00:03:47] build up over time and the more the sound changes.
[00:03:49] (gentle music)
[00:03:52] So we build basically up here everything,
[00:04:05] what's this here, 3.5 kilohertz, right?
[00:04:09] So there we build up frequencies over time.
[00:04:11] (gentle music)
[00:04:14] (gentle music)
[00:04:16] But sometimes you don't want to build up
[00:04:25] or you don't want to have this go louder over time, right?
[00:04:29] You want to have it in balance.
[00:04:31] So it should slowly fade out.
[00:04:33] So we need to find here the right outer output volume.
[00:04:39] And what I do sometimes is I use this EQ five here
[00:04:44] or some other EQ or some different devices
[00:04:48] inside of this chain device of Bitwig Studio.
[00:04:54] And thanks to me, we have here this wet gain and learn button.
[00:04:58] So we can measure basically the input
[00:05:02] or we can match the input volume to the output volume
[00:05:05] or the output volume to the input volume.
[00:05:07] That's the better expression.
[00:05:10] So we can create just some kind of EQ curve,
[00:05:15] maybe you want to remove your some lower frequencies.
[00:05:20] And you don't need to apply too much or, yeah.
[00:05:24] You don't want to apply too much EQ correction here
[00:05:27] because it builds up over time, right?
[00:05:29] So if you do something like this,
[00:05:31] you have quickly in the second and third iteration,
[00:05:33] you have no content here whatsoever.
[00:05:36] So you want to have this just slowly
[00:05:38] or minor adjustments here.
[00:05:42] So maybe also remove here some top end content,
[00:05:47] something around five and thirds, something like this.
[00:05:50] And then you play.
[00:05:51] And then you can measure here the,
[00:05:56] or match the output volume.
[00:06:02] And theoretically, this should be the perfect volume
[00:06:07] to keep the reverb in balance.
[00:06:10] It's not true, but you come close to the right volume for that.
[00:06:16] So here we built up some content there.
[00:06:22] So we want to adjust for that.
[00:06:24] (gentle music)
[00:06:27] (gentle music)
[00:06:30] (gentle music)
[00:06:32] Okay.
[00:06:58] And then we can just offset here the loudness
[00:07:01] by let's say minus one DB.
[00:07:04] So this learn wet gain gives us the right volume
[00:07:09] or matches the output volume to the input volume
[00:07:11] which keeps the reverb kind of stable in loudness.
[00:07:15] And then we offset everything here by minus one DB.
[00:07:18] So we get quieter over time, right?
[00:07:20] So we have a reverb tail that fades out.
[00:07:27] So this is where the chain wet gain learner
[00:07:29] can help you inside of certain feedback chains
[00:07:32] with the right volume.
[00:07:34] Maybe put here also a blur in there
[00:07:40] which is kind of for all pass filters, more or less.
[00:07:44] (gentle music)
[00:07:51] (gentle music)
[00:07:54] So you can tweak here in the tank FX
[00:08:02] the reverb to your taste.
[00:08:05] And then you have here the snob
[00:08:07] and it kind of works exactly like before.
[00:08:11] Of course, we match the volume at the output volume.
[00:08:14] (gentle music)
[00:08:16] (gentle music)
[00:08:19] Okay, so that's that.
[00:08:30] So we can tweak the reverb to our liking.
[00:08:33] We can also use here a multiple different things
[00:08:36] like I said here at the blur device of the EQ5,
[00:08:38] we can also put the chorus in there slightly slow
[00:08:43] modulation speed, nearly no feedback.
[00:08:45] We have eight voices then here.
[00:08:47] (gentle music)
[00:08:50] But always keep in mind the tank FX builds up over time.
[00:08:56] It's basically a feedback.
[00:08:57] So it iterates over and over and we build up over time.
[00:09:01] So don't make drastic changes in here.
[00:09:04] Yeah, that's the idea about it.
[00:09:09] Chorus plus also here in the wet FX in the post FX.
[00:09:12] Also nice.
[00:09:15] (gentle music)
[00:09:17] Let's make a button here so we can switch off our changes.
[00:09:35] We call it maybe raw.
[00:09:38] So we switch off here this, this and this, okay.
[00:09:45] Let's see how it sounds without all our changes.
[00:09:48] (gentle music)
[00:09:51] Or maybe even more here in the low end.
[00:10:14] (gentle music)
[00:10:17] Not fair like this.
[00:10:18] (gentle music)
[00:10:21] Not the B here.
[00:10:24] (gentle music)
[00:10:27] Okay.
[00:10:34] So then we can also combine this here with let's say,
[00:10:38] not algorithmic with some impulse responses.
[00:10:43] There's one revolution in front.
[00:10:45] (gentle music)
[00:10:47] So here the problem is that it's a sample
[00:10:52] and it's always the same.
[00:10:54] So the reverb sounds exactly the same every time,
[00:10:58] which is a bit boring.
[00:10:59] It can be too stale.
[00:11:01] (gentle music)
[00:11:03] But it can give you a realistic feeling for the reverb, right?
[00:11:07] So what I do most of the times is I put this reverb here
[00:11:10] inside of the wet FX of the convolution reverb.
[00:11:12] So I can combine the wet output
[00:11:14] of this convolution with an algorithmic reverb.
[00:11:18] Let's use 100% here.
[00:11:21] (gentle music)
[00:11:24] Let's increase the volume here a bit.
[00:11:40] It's probably too quiet on the video.
[00:11:43] (gentle music)
[00:11:45] Okay, so this is how I combine usually the convolution
[00:12:01] with the reverb sometimes.
[00:12:03] Also, instead of the reverb here, we can use delay plus.
[00:12:08] Delay plus is usually just a delay,
[00:12:11] but there are some diffusion algorithms here,
[00:12:13] let's say space.
[00:12:14] So it's more or less also a reverb.
[00:12:18] So pure, it sounds like this.
[00:12:20] (gentle music)
[00:12:23] With three eighth notes delay.
[00:12:25] (gentle music)
[00:12:28] (gentle music)
[00:12:31] So also nice reverb that we can use
[00:12:47] and we have even different diffusion algorithms
[00:12:51] here to choose from.
[00:12:53] Soft one is just more like a room.
[00:12:56] (gentle music)
[00:12:58] You can change here the left and the right side differently
[00:13:05] or the tune it.
[00:13:06] You can increase here the feedback.
[00:13:09] (gentle music)
[00:13:12] Reverse.
[00:13:21] (gentle music)
[00:13:25] (gentle music)
[00:13:28] So it sounds kinda on its own, very nice in my opinion.
[00:13:35] So you can also combine this with a convolution reverb.
[00:13:38] You can put this here in the wet FX
[00:13:40] or you can use it with the reverb
[00:13:41] and put it here in the wet FX or in the tank FX
[00:13:44] or you put the convolution into the tank FX
[00:13:46] and the wet FX.
[00:13:48] So you can combine this in all kinds of different
[00:13:51] combinations and then it always sounds different in good
[00:13:55] in my opinion.
[00:13:56] We can also switch here to time mode to timed
[00:14:01] or yeah, time-based mode.
[00:14:04] So let's use here four or quarter notes,
[00:14:08] eight quarter notes, right?
[00:14:10] And then we use here modulator, curves, reset
[00:14:15] and use some kind of ramp.
[00:14:19] Also unipolar, that's important.
[00:14:21] And we use also your quarter notes, right?
[00:14:24] Quarter notes, quarter notes.
[00:14:27] And then we type in here eight.
[00:14:29] We also in disable smoothing here and maybe, yeah,
[00:14:35] let's just run this here freely.
[00:14:39] And then we modulate here the time unit scalar.
[00:14:42] 50%.
[00:14:48] Let's hear the sounds.
[00:15:15] So this can give you some pitch effects here.
[00:15:18] Let's go for, that's okay.
[00:15:22] Let's go for four here.
[00:15:23] I even made here different ones.
[00:15:38] Let's say double time reverb, something like this.
[00:15:42] (gentle music)
[00:15:45] Or half time reverb.
[00:15:57] Just modulating here the time unit scalar
[00:16:02] or delay unit scalar, that's the name.
[00:16:05] (gentle music)
[00:16:08] So then you combine this here with convolutions.
[00:16:15] Or put this also here in front in the wet FX.
[00:16:28] (gentle music)
[00:16:31] You get a nice reverb answer at some point.
[00:16:51] So yeah, that's something you can do.
[00:16:55] Sometimes I also create my own impulse responses.
[00:16:59] So let's use your basic one.
[00:17:02] Or let's actually use here a Valhalla delay.
[00:17:05] That's the easiest way of doing this.
[00:17:07] So I dial in here my settings.
[00:17:14] Then in front, I put the test tone.
[00:17:24] I switch this here by default to Dirac.
[00:17:28] And all the way down here for the frequency.
[00:17:32] And then at the end, I use rolling sampler.
[00:17:37] Just dial in one Dirac or Dirac signal here
[00:17:40] through the Valhalla delay.
[00:17:41] And then I try to get this out.
[00:17:52] In front to the convolution device.
[00:17:56] Wet all the way up.
[00:18:01] Mix all the way up.
[00:18:03] And we can disable here the Valhalla.
[00:18:05] (gentle music)
[00:18:10] (gentle music)
[00:18:13] Right, and then we have here more or less
[00:18:25] like a nice sounding reverb from the start.
[00:18:30] We can also do something like super massive delay up,
[00:18:36] mix all the way up, feedback up.
[00:18:40] (gentle music)
[00:18:42] Then here we get the chorus.
[00:18:46] Or maybe let's use the tool device.
[00:18:50] And we have 85 BPM at the moment here.
[00:18:54] And use the curves module.
[00:18:56] Reset this.
[00:19:00] So we want to make it kind of rhythmically.
[00:19:04] Maybe bar.
[00:19:09] And then we increase here the volume.
[00:19:11] We also synchronize this here to the BPM tempo.
[00:19:17] Then we use a random modulator.
[00:19:24] And here we go for eight notes.
[00:19:27] Also synchronized.
[00:19:29] And with this, we change here the time base of the curves.
[00:19:33] So we play faster and sometimes slower randomly.
[00:19:39] This sounds like this.
[00:19:41] (gentle music)
[00:19:43] Maybe here we make this a bit smoother.
[00:19:52] Okay, then we use maybe a stereo splitter.
[00:19:59] And put this in the left side.
[00:20:01] Let's put this in the right side.
[00:20:03] Because it's random, it has different seats.
[00:20:06] (gentle music)
[00:20:08] So we make this a bit louder.
[00:20:16] (gentle music)
[00:20:19] So we have kind of a rhythmic delay here with this.
[00:20:27] (gentle music)
[00:20:34] And then we use again a test phone.
[00:20:37] And here a rolling sampler.
[00:20:41] Let's clear here the feedback buffer.
[00:20:48] And then we send here the Rack signal.
[00:20:50] Through the whole chain.
[00:20:59] Or through the FX chain here.
[00:21:02] So we get a lot of different signals here.
[00:21:07] So we can just wrap this.
[00:21:11] That's okay.
[00:21:16] Just drag this in here.
[00:21:22] Mix all the way up.
[00:21:24] And then we can disable here all that stuff.
[00:21:27] And try it out.
[00:21:30] (gentle music)
[00:21:32] (gentle music)
[00:21:35] (gentle music)
[00:21:37] (gentle music)
[00:22:07] All right, so you have a nice rhythmic reverb
[00:22:09] based on this Valhalla delay here
[00:22:12] with some modulations you just apply to a tool device.
[00:22:16] Very simple, very straightforward.
[00:22:18] And if you keep the BPM the same,
[00:22:22] this is always synchronized in here, right?
[00:22:24] So this is tailored to 85 BPM.
[00:22:27] So it always matches.
[00:22:28] But if you change the BPM, this is then wrong of course.
[00:22:32] So keep this in mind.
[00:22:35] You can also go halftime here by just tuning this down
[00:22:37] by 12 semitones.
[00:22:39] So it's halftime now.
[00:22:41] (gentle music)
[00:22:44] Or double time.
[00:22:45] (gentle music)
[00:22:48] So again, something you can do.
[00:22:56] Sometimes I just create stuff with this
[00:23:02] to the bully grid.
[00:23:03] So in here, you can take a noise thing.
[00:23:09] You can make it stereo.
[00:23:10] That's important in my opinion.
[00:23:11] If you want to have a stereo reverb
[00:23:13] and yeah, just, I don't know,
[00:23:18] use a curve curves module here.
[00:23:21] Synchronized this bar.
[00:23:23] Reset stuff like this.
[00:23:28] (gentle music)
[00:23:31] Or maybe even better using AD.
[00:23:40] And then using random LFO here.
[00:23:48] Make it stepped.
[00:23:51] Eight notes.
[00:23:54] Maybe trigger this.
[00:23:57] (gentle music)
[00:24:00] No, that's the wrong idea.
[00:24:09] Maybe LFO.
[00:24:11] Or let's use triggers.
[00:24:15] Something like this, 16 maybe.
[00:24:23] And then we modulate this here then.
[00:24:26] (gentle music)
[00:24:29] Clock quantizer.
[00:24:30] Right.
[00:24:34] And then we use a random LFO.
[00:24:38] We go here to one and then we modulate this by 15.
[00:24:42] And we change the volume at every eight steps.
[00:24:50] Okay, then we put this out.
[00:24:52] Audio out, probably too loud.
[00:24:55] (gentle music)
[00:24:58] So then we use a dials module here.
[00:25:05] Modulate that out.
[00:25:08] And we trigger this each time
[00:25:11] and then we make it a decay time a bit different.
[00:25:15] And maybe we also change it a attack time.
[00:25:23] (gentle music)
[00:25:26] So we get the rhythmic noise thing,
[00:25:44] noise floor, noise sample, maybe Q2 here.
[00:25:48] Get rid of some low frequencies,
[00:25:50] maybe some top frequencies.
[00:25:55] (gentle music)
[00:25:57] And then we use here modulation.
[00:26:06] Say we want to bring this in
[00:26:12] and then slowly fade out over time.
[00:26:14] This is here 11 seconds, so maybe we make it a bit longer.
[00:26:18] Say here, this is 22 seconds, slow fade out.
[00:26:23] Maybe mute this here for a moment.
[00:26:30] Make this louder.
[00:26:35] Let me just bounce this out.
[00:26:37] Bounce post-fader, 32-bit, nice.
[00:26:42] You can see here we have a nice little rhythmic,
[00:26:46] whatever this is.
[00:26:47] (laughs)
[00:26:50] Yeah, but we can use this now here
[00:26:52] in the convolution device.
[00:26:57] Let's use the polygrid bounce here.
[00:27:02] Looks like this.
[00:27:03] (gentle music)
[00:27:08] (gentle music)
[00:27:10] You can create your own little delays, tap, delay taps,
[00:27:23] rhythmical stuff, grain delay type of things.
[00:27:30] Let's make here the reverb or the decay a bit longer.
[00:27:35] (gentle music)
[00:27:38] Let's start here maybe with the higher number, let's say five.
[00:27:43] Then change this more often.
[00:27:46] And maybe also modulate here the pan a bit.
[00:27:51] And yeah, just a tad.
[00:28:03] (gentle music)
[00:28:06] So we have a bit of activity there.
[00:28:12] Okay, so let's bounce this here again, like this.
[00:28:24] It's more dense than before.
[00:28:33] (gentle music)
[00:28:35] Um, find out.
[00:28:44] (gentle music)
[00:28:48] (gentle music)
[00:28:50] Are you tuned this down?
[00:29:10] (gentle music)
[00:29:13] (gentle music)
[00:29:15] And you see a reverb in there.
[00:29:25] (gentle music)
[00:29:28] Be here, a delay plus.
[00:29:30] (gentle music)
[00:29:32] (gentle music)
[00:29:35] So this is how you can combine this stuff together
[00:30:00] and create multiple devices,
[00:30:03] multiple sounds for the convolution reverb
[00:30:06] and create, yeah, very unique delays,
[00:30:10] very unique reverbs this way.
[00:30:12] And that's here the frequency shifter, the new one.
[00:30:18] And there's a delay setting in here.
[00:30:21] (gentle music)
[00:30:24] With feedback.
[00:30:29] Let's go to Hertz.
[00:30:31] (gentle music)
[00:30:33] We have a nice delay, so we can use a blur
[00:30:46] to make it more diffuse, multiple blurs.
[00:30:50] (gentle music)
[00:30:54] (gentle music)
[00:30:56] So let's modulate this with a random mod here.
[00:31:03] Very slowly.
[00:31:06] (gentle music)
[00:31:14] (gentle music)
[00:31:16] (gentle music)
[00:31:19] (gentle music)
[00:31:47] (gentle music)
[00:31:50] (gentle music)
[00:31:53] (gentle music)
[00:31:55] (gentle music)
[00:32:14] (gentle music)
[00:32:16] So it sounds a bit different than a usual reverb.
[00:32:35] It sounds more physical in a way,
[00:32:37] but it's also possible to create nice unique reverbs
[00:32:43] with the frequency shifter, yeah,
[00:32:44] and with a bit of delay and a bit of diffusion
[00:32:46] of these blur devices.
[00:32:48] (gentle music)
[00:32:51] Let's go to Bar.
[00:32:56] (gentle music)
[00:32:59] I need to press play.
[00:33:06] (gentle music)
[00:33:09] (gentle music)
[00:33:11] (gentle music)
[00:33:14] (gentle music)
[00:33:16] (gentle music)
[00:33:20] (gentle music)
[00:33:22] (gentle music)
[00:33:30] (gentle music)
[00:33:33] Yeah, so it's real.
[00:33:55] (gentle music)
[00:33:58] (gentle music)
[00:34:00] It's dry signal.
[00:34:09] (gentle music)
[00:34:12] (gentle music)
[00:34:15] Oh, convolution in there, right?
[00:34:42] (gentle music)
[00:34:44] Oh, we just take the grid, FX grid, let me see.
[00:34:58] We can delete this here for the moment.
[00:35:03] Let's go straight for long delay without feedback.
[00:35:08] Go in there.
[00:35:11] Eight quarter notes and create a simple feedback here.
[00:35:16] And then, yeah, just go straight out.
[00:35:26] Something like this.
[00:35:30] Too long.
[00:35:35] Yeah, it's a bit too long.
[00:35:41] Let's go for an alpase.
[00:35:44] We diffuse here a bit.
[00:35:51] (gentle music)
[00:35:54] (gentle music)
[00:35:57] So we can also take here another long delay
[00:36:17] and take the output of this.
[00:36:23] (gentle music)
[00:36:26] And here combine it back into a second
[00:36:33] but to use a different delay time here,
[00:36:35] which is seven, eight notes.
[00:36:40] And then use a mixer here.
[00:36:46] We have this signal and then this signal here.
[00:36:53] Now we have two delay apps or two delay chains.
[00:36:57] (gentle music)
[00:37:00] Also use now an FX, what's the name crossover?
[00:37:16] Cross over two, let's use this one.
[00:37:23] So the low frequencies go in this one,
[00:37:26] the high frequencies go in this one.
[00:37:28] (gentle music)
[00:37:32] Let's split here a bit lower.
[00:37:51] (gentle music)
[00:37:53] Let's use here also quarter notes, eight quarter notes here,
[00:38:05] four quarter notes here.
[00:38:06] (gentle music)
[00:38:10] Then we can use a long delay.
[00:38:20] Down here, take the full signal.
[00:38:24] Bring in here, then use an LFO.
[00:38:31] We use here also eight quarter notes.
[00:38:36] So we also use here quarter notes and eight.
[00:38:42] Then we modulate again here the delay unit scale.
[00:38:49] And okay, so let's only use here this one for now.
[00:38:54] (gentle music)
[00:38:57] So we can pitch up here.
[00:39:13] And we don't want to re-trigger every time we press a note.
[00:39:18] That's probably important.
[00:39:20] (gentle music)
[00:39:22] So we can take this and blend it together here
[00:39:34] with the original dry signal maybe.
[00:39:37] The other delays.
[00:39:40] (gentle music)
[00:39:44] (gentle music)
[00:39:47] Okay, so then we can take here another delay.
[00:40:12] Take the whole output here and delay it again
[00:40:15] by quarter notes, no eight notes, three eight notes here.
[00:40:19] Going to an all pass.
[00:40:23] Maybe split into left and right channel.
[00:40:28] Use different settings for left and right.
[00:40:33] Merge it together.
[00:40:40] And then blend it here in front of everything.
[00:40:45] Something like this.
[00:40:49] But maybe not too much, just a tad.
[00:40:51] (gentle music)
[00:40:55] (gentle music)
[00:40:58] So in front of this FX device we use a convolution reverb
[00:41:25] to adjust the fuses a bit before we go into the whole chain.
[00:41:29] (gentle music)
[00:41:53] So maybe want to have something come out earlier.
[00:41:56] So use a delay here with what's that, 16 notes,
[00:42:01] two 16 notes, maybe three 16 notes.
[00:42:06] Take the whole thing and go in here.
[00:42:11] And remember we just go back here, right?
[00:42:13] So this also is kind of gives us some early reflections
[00:42:18] or early, I don't know, reactions from the chain.
[00:42:22] (gentle music)
[00:42:25] And maybe we use a chorus on there.
[00:42:30] (gentle music)
[00:42:34] (gentle music)
[00:42:37] (gentle music)
[00:42:39] (gentle music)
[00:42:42] (birds chirping)
[00:43:08] (gentle music)
[00:43:11] Now we have to get the volume right here.
[00:43:28] (gentle music)
[00:43:30] (gentle music)
[00:43:33] Um, let's bring in another old pass here maybe.
[00:43:55] (gentle music)
[00:43:59] (gentle music)
[00:44:01] (gentle music)
[00:44:04] (gentle music)
[00:44:06] (gentle music)
[00:44:09] (gentle music)
[00:44:12] Oh, let's delay this even more.
[00:44:38] (gentle music)
[00:44:41] Quarter notes, three quarter notes.
[00:44:45] (gentle music)
[00:44:47] (gentle music)
[00:44:50] Yeah, let's make this a bit louder here.
[00:45:17] Let's make this one.
[00:45:19] (gentle music)
[00:45:21] Okay, put this a bit to the left, and it's 20.
[00:45:32] (gentle music)
[00:45:34] I feel like this.
[00:45:37] (gentle music)
[00:45:40] (gentle music)
[00:45:42] Okay, so let's try here, another FX grid,
[00:46:01] and another long delay, bam, bam.
[00:46:09] And let's use your tuner at the end, and the test tone.
[00:46:14] So we want to use your sign, and we have C3 maybe.
[00:46:21] Put down the volume.
[00:46:24] So this gives us here, of course, C4.
[00:46:31] Let's use an LFO again.
[00:46:39] Eight quarter notes.
[00:46:41] (gentle music)
[00:46:44] 50%.
[00:46:45] (gentle music)
[00:46:47] C3, C4, C3.
[00:47:02] So this is the magic number here
[00:47:04] for between one octave down.
[00:47:08] (gentle music)
[00:47:10] We can take this, maybe implement it here.
[00:47:14] (gentle music)
[00:47:17] Maybe take this output here, and we go into that.
[00:47:30] (gentle music)
[00:47:32] Then we mix it in here.
[00:47:36] (gentle music)
[00:47:38] Maybe we diffuse a bit more.
[00:47:40] (gentle music)
[00:47:43] See all the sounds.
[00:47:51] (gentle music)
[00:48:06] Already built up.
[00:48:07] (gentle music)
[00:48:10] That's always a problem that you need to find.
[00:48:17] Where does it build up?
[00:48:21] (gentle music)
[00:48:35] (gentle music)
[00:48:37] Maybe a high pass to get rid of some low rumble here.
[00:49:05] (gentle music)
[00:49:07] And we need to disable all the other trigger.
[00:49:12] (gentle music)
[00:49:15] And we can take this FX grid here,
[00:49:26] which is some kind of halftime plug-in.
[00:49:32] And put this here into the delay plus.
[00:49:37] (gentle music)
[00:49:40] And just pitch everything down.
[00:49:42] (gentle music)
[00:49:45] I don't press any notes.
[00:50:01] It's just coming from the delays.
[00:50:04] It's super complex.
[00:50:05] (gentle music)
[00:50:07] Maybe a low pass here to get rid of some clicks and pops.
[00:50:16] (gentle music)
[00:50:19] (gentle music)
[00:50:21] Boom, you have it.
[00:50:38] Nice, super unique delay, reverb combination for your piano.
[00:50:43] You can see I don't play anything.
[00:50:47] It's just coming from the delay.
[00:50:49] (gentle music)
[00:50:52] (gentle music)
[00:50:54] (gentle music)
[00:50:57] (gentle music)
[00:51:26] Oh yeah, you can see there's a click always here
[00:51:28] when we reset basically this time unit scalar.
[00:51:31] So this doesn't help here.
[00:51:35] So I'm using this window here.
[00:51:41] We take this.
[00:51:45] And we get a nice, yeah, sine modulation here.
[00:51:55] It's the name pinch.
[00:51:56] So yeah, so we have more loudness than over time.
[00:52:06] And every time we switch back here to the zero position,
[00:52:10] the loudness is zero.
[00:52:12] Something like this should help.
[00:52:31] So we need to see it too.
[00:52:58] (gentle music)
[00:53:01] Oh.
[00:53:10] Okay.
[00:54:01] There's still some crackles in there.
[00:54:09] I guess this helps.
[00:54:23] Oh yeah, we need to bring this back in.
[00:55:18] I'll put this here in the description below
[00:55:44] so you can download it if you want to.
[00:55:46] It's just, you know, improvised stuff.
[00:55:49] I want to give you some ideas what you can do
[00:55:52] just by chaining here a bunch of delays together
[00:55:57] with some effects here and there.
[00:55:59] So yeah, this is how we can create reverbs,
[00:56:03] unique reverbs in Bitwig Studio
[00:56:05] by just using all the devices we have.
[00:56:08] There's more, right?
[00:56:09] It's not everything we can also use here,
[00:56:12] the plur device, like I showed you earlier,
[00:56:14] just to create reverbs or alpars filters here
[00:56:19] inside of the grid or all kinds of stuff.
[00:56:22] Also the recorder, even though it's just six seconds
[00:56:26] and yeah, can do a lot of bunch of stuff
[00:56:29] with this type of, these type of devices.
[00:56:33] Yeah, that's it, I think, for this Friday.
[00:56:37] Thanks for watching.
[00:56:38] Leave a like if you liked the video.
[00:56:40] Leave a comment if you have some questions
[00:56:42] and thanks for subscribing and watching, of course.
[00:56:45] See you next time, bye.