How to Build a Resonance Suppressor in Bitwig (4 Ways)

[00:00:00] Hey folks, welcome back.
[00:00:01] So I saw this on Reddit today from present policy,
[00:00:05] creating a resonance suppressor.
[00:00:07] I watched the recent YouTube tutorial from Virgil Riot
[00:00:09] where he uses an envelope follower
[00:00:11] to create a sort of a mini resonance suppressor
[00:00:13] in Avid Live.
[00:00:14] And this is basically my curse, my life curse
[00:00:17] that I have to recreate every possible Avid Live tutorial
[00:00:21] in Bitwig Studio and no one cares for my channel
[00:00:24] in the first place because I showed this a few years ago
[00:00:28] in Bitwig Studio already.
[00:00:30] It's very easy to do in Bitwig
[00:00:33] because we have all these modulators, but it's okay.
[00:00:36] It's not a problem for me.
[00:00:37] That's how it is, right?
[00:00:38] These are bigger channels
[00:00:39] and they are more spread around in the YouTube algorithm.
[00:00:43] So no problem.
[00:00:45] So in Avid Live, you have to use your EQ
[00:00:48] to filter out multiple signals.
[00:00:50] You use one signal right for the input as an input
[00:00:54] for the envelope follower on the second channel and so on.
[00:00:57] So in Bitwig, it's a bit easier.
[00:01:00] So here we have a drum loop and all we have to do
[00:01:05] is use random EQ, for instance, we can use the EQ5 here.
[00:01:10] And then instead of creating multiple copies
[00:01:14] of the same channel,
[00:01:15] we can just use an audio side chain modulator
[00:01:20] and the audio side chain modulator is nothing else
[00:01:22] than just an envelope follower here with the rise
[00:01:24] and fall time and also on top, a low cut and a high cut.
[00:01:29] So we can filter out already what we want to analyze.
[00:01:34] And here we maybe focus on the 1K to 10K region, right?
[00:01:39] And you get here an envelope follower signal
[00:01:43] on the left side, as you can see.
[00:01:45] And we can then use this to pull down here
[00:01:48] the fourth note of the EQ
[00:01:50] and it just reduces the frequency.
[00:01:55] (drumming)
[00:01:57] And we can influence here the amount.
[00:01:59] (drumming)
[00:02:02] And also interestingly, if you select the modulator
[00:02:07] on the left side of Bitwig, we have here this modulation list.
[00:02:12] You can see here, this is our modulation
[00:02:14] and we can change, what's the name here?
[00:02:17] The modulation curve.
[00:02:22] So at the moment it's linear, flat response,
[00:02:24] but you can also change it to exponential
[00:02:27] and also logarithmic.
[00:02:29] So it has a different feel to it.
[00:02:32] So with exponential, you can see nothing really happens here.
[00:02:37] Just a bit of reduction there
[00:02:40] and you can increase here the loudness
[00:02:42] or the gain of the audio side chain
[00:02:44] so we get more signal into the analyzer.
[00:02:49] And then it reacts more drastically.
[00:02:51] (drumming)
[00:02:52] Then we reduce here the gain
[00:02:54] (drumming)
[00:02:55] or the amount of the modulation.
[00:02:57] (drumming)
[00:03:00] So this sounds more like a real compressor, in my opinion.
[00:03:10] We can also expand.
[00:03:12] (drumming)
[00:03:13] Right, going here into the negative range with the amount.
[00:03:17] (drumming)
[00:03:19] So the more frequencies there are here at the top,
[00:03:21] the more we push it up.
[00:03:22] So it's exactly the opposite thing we want to do.
[00:03:26] (drumming)
[00:03:28] You can also switch this to logarithmic.
[00:03:34] (drumming)
[00:03:36] So we have here in the first place a lot of gain reduction.
[00:03:39] (drumming)
[00:03:40] So it's more sensible to audio signals in the first place.
[00:03:44] (drumming)
[00:03:47] Maybe the modulation is too much here.
[00:03:50] We go to maybe only 3 dB.
[00:03:53] (drumming)
[00:03:56] Right, so you can see it reacts more sensible
[00:04:00] to audio input.
[00:04:02] So you can tweak it in all kinds of directions.
[00:04:06] It doesn't really matter.
[00:04:07] Or it only matters what kind of taste you have
[00:04:09] or what you want to do with your process,
[00:04:13] with your audio resonance suppressor.
[00:04:16] It really depends on your sound.
[00:04:17] So you can tweak it in all kinds of directions.
[00:04:20] We can also just duplicate here
[00:04:22] the audio sidechain modulator
[00:04:24] and focus on a completely different frequency range
[00:04:28] from one and two, I don't know what this is here.
[00:04:31] 300 hertz.
[00:04:32] And then completely change here the modulation
[00:04:39] to a gain reduction here on the third band.
[00:04:43] (drumming)
[00:04:45] On the second one.
[00:04:46] You can see it reacts differently
[00:04:52] to different inputs on different frequency regions.
[00:04:57] And you can do this to as many notes you want
[00:05:03] inside of an EQ.
[00:05:05] We can add as many modulators as you want
[00:05:09] in Bitwig, there's no limitation,
[00:05:11] which gives you unlimited options, of course, right?
[00:05:15] You can also do this, not only on the EQ five,
[00:05:17] you can also do this on the EQ plus, of course,
[00:05:20] it's the same thing here, audio sidechain modulator.
[00:05:25] And then add here a note, one K.
[00:05:31] Move this here to one K.
[00:05:34] And then make your gain reduction.
[00:05:38] (drumming)
[00:05:40] Very easy to set up, very easy to do,
[00:05:48] and very straightforward,
[00:05:49] you don't need to have any ideas of how EQs work
[00:05:54] or anything like this, you just set it up and it works.
[00:05:59] You can also use this to make room for other stuff.
[00:06:03] So you can, for instance, here select
[00:06:05] as an sidechain input a kick drum from another track
[00:06:09] and say here, this is my bass line.
[00:06:11] I want to remove the bass fundamental frequency here.
[00:06:14] Every time the kick drum comes in,
[00:06:17] maybe I can do this here quickly.
[00:06:21] So we have here kick drum with the low frequency, of course,
[00:06:27] and then we select the kick drum output.
[00:06:31] And then every time the kick drum plays,
[00:06:34] we reduce here the frequency.
[00:06:38] That's okay.
[00:06:42] (drumming)
[00:06:44] So also possible.
[00:06:50] So you can use this as a sidechain, as a track spacer,
[00:06:53] as a noise suppression or resonant suppressor
[00:06:57] or whatever you want to call it.
[00:06:58] And it just works straight out of the box
[00:07:02] with modulators in Bitwig Studio.
[00:07:04] Another thing you can do instead of using a cue,
[00:07:07] you can also use here the spectral device called loud split.
[00:07:11] And loud split just takes an audio input
[00:07:13] and splits it up into three parts, the loud part,
[00:07:16] the mid part and the quiet part.
[00:07:17] It sounds like this here.
[00:07:19] This is the loud part.
[00:07:23] So everything that peaks above this threshold here
[00:07:29] gets is pushed into the loud box here in the loud chain.
[00:07:34] (drumming)
[00:07:37] So this is the mid part.
[00:07:39] So everything that's not peaking above the red line.
[00:07:44] And then the quiet part.
[00:07:47] This is the noisy part.
[00:07:48] So basically, if you just mute the quiet part,
[00:07:54] it's a gate, a spectral gate.
[00:07:57] So everything that's here down here is just muted.
[00:08:00] (drumming)
[00:08:03] So you can remove noise if you want to.
[00:08:09] Then you can also do like muting here the loud part.
[00:08:15] (drumming)
[00:08:18] So everything that's peaking that's very loud
[00:08:21] is just completely removed in terms of bin.
[00:08:24] The frequency doesn't exist anymore,
[00:08:27] which is maybe not what you want
[00:08:30] because then you remove certain snare fundamentals here.
[00:08:34] Of course, completely, you completely remove it.
[00:08:37] (drumming)
[00:08:39] Right, all these red frequencies here you can see
[00:08:44] on the analyzer are completely removed, just non-existent.
[00:08:49] (drumming)
[00:08:52] So instead of doing this, muting here the loud channel,
[00:08:59] what we can do is we can just pull down the volume a bit.
[00:09:03] So you go here, you set this up to a certain point.
[00:09:07] So we have some of the loud parts peaking above the line.
[00:09:11] (drumming)
[00:09:14] And then you just pull it down by two DB or three DB
[00:09:19] or one DB, right?
[00:09:22] (drumming)
[00:09:24] And then the loud parts are just a bit quieter.
[00:09:27] They are not that upfront anymore.
[00:09:30] So it's already a noise suppressor here
[00:09:33] focused on the loud parts.
[00:09:36] We also have your tilt features.
[00:09:38] We can tilt the spectrum.
[00:09:39] I have it usually on plus three DB.
[00:09:42] So this equals to a pink noise curve,
[00:09:45] but you can also say I want to have a zero DB.
[00:09:48] (drumming)
[00:09:49] So with this, we have low end peaking
[00:09:53] very early above the line here.
[00:09:56] (drumming)
[00:09:59] Or we can go to 60B here.
[00:10:02] So then we only have here the top parts.
[00:10:04] (drumming)
[00:10:06] The harsh, the harshness, top end peaking
[00:10:09] above the loudness thing here.
[00:10:11] So we can focus on this area
[00:10:13] and just pull it down a bit in volume, minus five DB.
[00:10:18] So this is more like a de-esser.
[00:10:20] (drumming)
[00:10:25] (drumming)
[00:10:27] So this is what we pull down.
[00:10:30] (drumming)
[00:10:32] So instead of using any cue here, you use a spectral device
[00:10:42] and split it up into different parts.
[00:10:44] And then you pull down the parts
[00:10:46] that you don't like in volume
[00:10:48] or you completely remove it.
[00:10:50] And it has the same effect more or less.
[00:10:54] But yeah, this is not really dynamic
[00:10:56] because it pulls down all the bins by equal amounts.
[00:11:00] So like a minus five DB here, right?
[00:11:02] So everything that's above the line
[00:11:04] gets pulled down by minus five DB.
[00:11:07] But usually audio signals are dynamic.
[00:11:09] So they have different loudness levels, right?
[00:11:12] And they're peaking in different positions in time
[00:11:15] by different amounts.
[00:11:16] So it's not really reactive to that.
[00:11:18] So yeah, you can combine this here
[00:11:21] with the EQ method I showed you in the beginning.
[00:11:26] So we put here in the loud part,
[00:11:28] we put here in EQ five.
[00:11:30] (drumming)
[00:11:31] And you can see here in this EQ
[00:11:34] because we put this here on the loud chain,
[00:11:35] we only have here the top part in the analyzer.
[00:11:39] And here you can use then again,
[00:11:41] an audio side chain modulator
[00:11:44] and pull down here the top end
[00:11:47] by different amounts.
[00:11:52] In different points in time.
[00:11:54] So one K to 10 K here.
[00:11:59] Maybe disable this.
[00:12:03] Yeah, something like this.
[00:12:06] So this is now more reactive.
[00:12:09] You can also use your mutable audio side chain modulators
[00:12:13] of course for different parts here if you want to do that.
[00:12:16] And in my opinion, maybe do a preset for that.
[00:12:20] You don't want to set this up all the time,
[00:12:22] every time just make a preset for harsh frequencies
[00:12:25] or for the SR that you really like
[00:12:27] or for your voice or for your vocals.
[00:12:30] And then you just recall it every time
[00:12:32] and you have it ready to go
[00:12:34] instead of building this chain here every time from scratch.
[00:12:39] Another idea I already showed in some of my videos
[00:12:45] is that you can use here instead of EQ five,
[00:12:48] you can use what's the name EQ plus.
[00:12:51] So the EQ plus is interesting in that sense
[00:12:56] that we have some options here on the left side
[00:12:59] in the inspector.
[00:13:00] You can see we have here reference inputs.
[00:13:03] We can use a second signal
[00:13:05] and overlay it on the spectrum analyzer here
[00:13:08] to see what's going on on a different track
[00:13:10] on a different channel.
[00:13:12] But here we can use it to analyze what's going on
[00:13:16] in save the loud split.
[00:13:18] So in the loud split here,
[00:13:20] I usually just put a tool device in the loud chain here.
[00:13:25] And then I can use on EQ plus the reference input here
[00:13:29] and go to the same channel,
[00:13:31] loud split chains, loud tool out.
[00:13:34] And I get basically as an overlay here in purple,
[00:13:38] what's going on or actually only the frequency content
[00:13:42] that's peaking or leaking above the threshold here
[00:13:45] of this line, right?
[00:13:47] So what you can do with this is you can decide here
[00:13:50] to go for a 3 dB per octave tilt,
[00:13:53] then pull down here this threshold for the loud part
[00:13:58] until some of the frequencies are leaking through.
[00:14:01] And you can see this here in purple.
[00:14:02] We have a lot of content here around 200K
[00:14:07] and some content around 1K and one here above 10K,
[00:14:11] which is completely fine.
[00:14:13] But then you can use this basically to say,
[00:14:15] oh, I have to EQ here something.
[00:14:17] I have to EQ here and maybe I need to EQ here
[00:14:21] because here are the parts that are actually peaking
[00:14:24] above my pink noise curve
[00:14:27] or this 3 dB per octave curve here, right?
[00:14:30] But the problem here is you can EQ as much as you want
[00:14:35] the purple line or overlay stays
[00:14:38] because the loud split here in front
[00:14:42] doesn't get any info about what you do in this EQ here
[00:14:45] after the loud split.
[00:14:47] So you can do something funny in Bitwig.
[00:14:51] You can actually drag this EQ plus into the pre-FX chain
[00:14:55] of the loud split device,
[00:14:57] which then the loud split gets the information
[00:15:01] what's actually EQed here in this EQ plus.
[00:15:04] And then we get the information from the loud chain
[00:15:09] as an overlay, which means we can now EQ here
[00:15:12] out certain parts.
[00:15:14] And then you can see the purple overlay goes away
[00:15:17] in this part because we just EQ this out
[00:15:20] or we reduce the gain for this frequency,
[00:15:23] which then not leaks above the threshold here
[00:15:27] of the thread line anymore,
[00:15:28] which then is not used as an overlay in this EQ plus.
[00:15:32] This makes sense.
[00:15:33] So we have a visual information
[00:15:37] about where we need to EQ something maybe.
[00:15:40] And you can also get visual information
[00:15:45] if you actually EQed enough.
[00:15:46] So it's not leaking above the threshold line.
[00:15:51] And you can also tweak this here with the rise
[00:15:54] and four times of the loud split.
[00:15:57] So maybe go to eight here, four time eight.
[00:16:00] So it's not giving you information for every bin
[00:16:04] that's shortly peaking above the threshold,
[00:16:07] only for things that are long,
[00:16:09] for a longer time above the threshold.
[00:16:13] So yeah, actually what you want to EQ out.
[00:16:17] So here, this kind of stuff.
[00:16:20] This around 200 hertz, there's always something
[00:16:22] around 200 hertz of frequency that nobody likes.
[00:16:25] And also you have some harsh frequencies.
[00:16:29] And also here you can combine this
[00:16:31] with my trick in the beginning.
[00:16:33] Use here an audio side chain modulator
[00:16:35] and react to this frequency content here above one K
[00:16:42] or around 10 K.
[00:16:44] And then pull down here a frequency note.
[00:16:49] Something like this.
[00:16:53] Yeah, that's okay.
[00:16:58] Okay.
[00:16:59] So you have all kinds of options
[00:17:05] and possibilities in Bitwig,
[00:17:08] where you can combine devices and tricks
[00:17:10] and modulators to get this kind of idea out of the way.
[00:17:15] Or you can solve it in multiple different ways.
[00:17:19] And also everything has a different sound to it.
[00:17:23] So maybe you don't like the spectral sound
[00:17:25] of the loudspeed, so you can use the EQ.
[00:17:27] If you don't like the EQ,
[00:17:29] then you can use the loudspeed, okay?
[00:17:31] So these are the basic native things you can do
[00:17:34] in Bitwig here.
[00:17:36] There are probably more options.
[00:17:39] Something like I showed you, I think,
[00:17:41] in some of the recent videos.
[00:17:46] So we can use here, let's say,
[00:17:48] and filter plus device, which is also just an EQ.
[00:17:55] More or less, we don't need the distortion device here,
[00:17:58] but we can enable the filter
[00:18:00] and we can use here a notch, right?
[00:18:03] And I want to maybe use an EQ curve analyzer
[00:18:06] so you can see what's going on.
[00:18:08] Let's clone this.
[00:18:10] So here in the EQ curve analyzer,
[00:18:15] you can see it's a notch filter.
[00:18:16] We completely remove here a frequency.
[00:18:19] You can change the frequency, of course.
[00:18:22] And then you can pull down the mix
[00:18:25] of this filter plus device
[00:18:26] and this gives you the gain reduction.
[00:18:29] And here we can do the same thing.
[00:18:33] Again, we use an, what's the name?
[00:18:36] Audio side chain modulator.
[00:18:39] And we use here the,
[00:18:41] so instead of dialing this in your manually,
[00:18:45] we can go down with the low pass
[00:18:49] and with the high pass here, completely down to 20 Hertz.
[00:18:53] 20 Hertz.
[00:18:55] Then we use a macro knob here
[00:18:57] and modulators by 120 semitones,
[00:19:02] so the low cut and the high cut.
[00:19:04] So we can move this around.
[00:19:06] And we also start here with the notch filter by 20 Hertz.
[00:19:14] And then we go up here by also 120 semitones.
[00:19:19] So we end up in the same space, right?
[00:19:22] So now we have one macro knob where we can change
[00:19:24] the audio side chain focus frequency
[00:19:29] or the band pass frequency.
[00:19:31] So we analyze the signal.
[00:19:34] And then we have, at the same time,
[00:19:36] also here the notch filter,
[00:19:38] also at the same position in time, right?
[00:19:40] So we can change both these things at the same time.
[00:19:44] And then we use more or less here
[00:19:48] the envelope follower to modulate the mix.
[00:19:54] So every time we get the frequency there,
[00:19:57] it's probably not showing here because it's not enough.
[00:20:04] Yeah, but you can see it here.
[00:20:10] Yeah, so let's remove here the EQ analyzer
[00:20:13] and use the jumps again.
[00:20:14] Don't need the input here.
[00:20:21] So we can focus here around one K, one kilo Hertz.
[00:20:24] And you can see it, the audio envelope,
[00:20:27] the audio side chain envelope here reacts to the audio input
[00:20:31] and then it brings in here the mix,
[00:20:33] which then brings in the notch,
[00:20:34] which reduces the frequencies at this position.
[00:20:37] So this is also something you can do
[00:20:39] if you don't want to use the EQ for that.
[00:20:42] You can just use the filter plus device and the mix knob
[00:20:46] to bring in actually gain reduction
[00:20:49] in a certain frequency area.
[00:20:51] So this is also here.
[00:20:53] Yeah, I would say a noise suppressor
[00:20:57] or resonance suppressor or DSR or however you want to call it.
[00:21:02] So yeah, this also works too.
[00:21:04] Okay, and then there's another way that's a nerdy way.
[00:21:09] And the nerdy way is maybe so nerdy
[00:21:11] that you maybe don't want to watch the video until the end
[00:21:15] because it involves the FX grid of Bitwig Studio.
[00:21:20] And I already made a video about this here a few weeks
[00:21:24] or maybe a month ago about FFT.
[00:21:27] This is not really FFT, but it goes into the same direction.
[00:21:32] So what we want to do is we actually want to use
[00:21:34] the sine oscillator to figure out
[00:21:37] if there is frequency content in a certain area.
[00:21:41] And we can use the sine oscillator
[00:21:44] and we want to feed this here pitch.
[00:21:48] And I use here this frequency to pitch module, right?
[00:21:51] And feed this into the pitch input.
[00:21:53] I also disable here this one
[00:21:55] because we don't want to use the keyboard
[00:21:57] to change the frequency.
[00:21:58] And then we can use a constant
[00:22:02] and we switch this here from hertz to kilohertz.
[00:22:06] So now we can say this is one kilohertz
[00:22:09] and it gives us the right pitch for one kilohertz
[00:22:12] for the sine oscillator.
[00:22:14] Okay, so now we have a sine oscillator playing exactly
[00:22:17] at the pitch of one kilohertz.
[00:22:20] We can also see this here in the spectrum analyzer.
[00:22:22] Right, one kilohertz sine, very, yeah, nothing special.
[00:22:30] So what we want to do with sine
[00:22:31] is we want to use a dome filter
[00:22:33] and we split the signal into two,
[00:22:38] yeah, two sine waves,
[00:22:41] a real signal and an imaginary signal.
[00:22:44] So the thing here, this is the normal sine wave
[00:22:48] and the imaginary signal is the same sine wave
[00:22:50] just rotated by 90 degrees.
[00:22:54] You can see this by using an oscilloscope.
[00:22:58] Maybe I use, can I use this slow, no, what's better.
[00:23:03] Yeah, you can see this maybe here.
[00:23:09] And then we have this one here
[00:23:10] and this is exactly the opposite way.
[00:23:13] Maybe use a trigger to stop the, can I do this here?
[00:23:18] Maybe we need to use a button here.
[00:23:23] It's probably not working in the pitch mode.
[00:23:28] Yeah, this is too fast.
[00:23:30] So the frequency is too high, of course.
[00:23:32] It doesn't matter, but you have to trust me.
[00:23:34] So this is just the same sine wave rotated by 90 degrees.
[00:23:38] Okay, so then we try to bring in here the real signal
[00:23:44] because we just multiply our signal with the real signal
[00:23:53] and we also multiply our signal with the imaginary signal.
[00:23:58] Yeah, that's actually something you have to do.
[00:24:05] You have to trust me on that.
[00:24:07] Then we need the filter
[00:24:09] and it doesn't really matter what kind of filter you use
[00:24:12] but all of these filters have different outcomes
[00:24:15] a little bit.
[00:24:16] So I starting here with the SVF filter.
[00:24:21] We pull down here the pitch and we also go to C3
[00:24:25] and also we pull down here the resonance.
[00:24:27] We filter the first signal
[00:24:29] and we also filter the second signal here
[00:24:34] and then we multiply this again.
[00:24:36] Multiply this, multiply the second signal
[00:24:42] and we multiply this here again with the imaginary signal
[00:24:46] and here at the top also with the real part
[00:24:49] and then we just add this together.
[00:24:53] I showed this in my other video about FFT,
[00:24:56] how to do or very basic.
[00:24:59] It's not really FFT or it's more like DFT in the grid
[00:25:04] and I think I explained it a bit more what I do
[00:25:07] and why I do it.
[00:25:08] Yeah, but here I just want to show you basically
[00:25:11] this is the problem is we have a sine wave
[00:25:16] and the sine wave has a phase, right?
[00:25:18] And then we have also our audio signal
[00:25:20] and the audio signal probably has some frequency content
[00:25:25] at 1K and we just represented of course
[00:25:28] as a sine wave at this position
[00:25:31] but sine wave has a different phase
[00:25:33] and we don't know the phase.
[00:25:34] So we have to figure out basically what is the phase
[00:25:38] of this audio signal of this frequency
[00:25:41] of this audio signal at this position.
[00:25:44] And it's not really possible.
[00:25:45] So what we do here is we use a sine wave
[00:25:47] an ideal sine wave where we know the phase
[00:25:51] and then we rotate the phase by 90 degrees
[00:25:54] and then we figure out how much the signals
[00:25:58] actually canceling each other out
[00:26:01] and dependent on this cancellation
[00:26:04] of how much you cancel something out
[00:26:06] we can figure out how much we are different
[00:26:11] in terms of phase if we are actually
[00:26:13] have a positive or negative phase shift.
[00:26:15] We can make this out basically with the volume
[00:26:18] or with the gain reduction you get
[00:26:19] from the cancellation where you are
[00:26:22] in the position of the phase.
[00:26:23] So this is the idea behind this here, right?
[00:26:26] So we multiply the signal
[00:26:28] and then we get some certain magnitude out of it
[00:26:31] and we can figure out if we actually hit exactly the phase
[00:26:34] of the audio signal or if we are different
[00:26:37] or if we have a difference.
[00:26:39] Okay, so now that we have this here
[00:26:43] we can actually just subtract
[00:26:45] this signal here from our real audio signal.
[00:26:53] So now, let me show you this here
[00:26:57] with an EQ analyzer, EQ curve analyzer.
[00:27:02] This is actually the best part
[00:27:03] or the best way of showing you what's going on.
[00:27:06] So now you can see we have a notch
[00:27:11] or we made a notch filter with this.
[00:27:14] It looks weird but it's exactly like that.
[00:27:18] So we have a sine wave.
[00:27:20] We can change the frequency of the sine wave here
[00:27:22] which changes of course the frequency of the notch.
[00:27:27] So we can say at two kilohertz
[00:27:29] we want to filter something out
[00:27:31] and you can see it's exactly at two kilohertz.
[00:27:34] And then we have here these kind of dips
[00:27:39] or like resonances around the notch frequency.
[00:27:44] And this is what you can change actually
[00:27:47] with the filters here.
[00:27:49] So here's a constant again
[00:27:52] and we use this constant to change the frequency
[00:27:57] of the low pass here, right?
[00:27:58] Turn this all the way up
[00:28:02] and then we go down to zero dot one maybe,
[00:28:05] something like this.
[00:28:06] So the trick here is to use the constant for the filter
[00:28:10] because the filter only goes down to 20 hertz
[00:28:13] which is not low enough.
[00:28:15] We need to go lower maybe to 10 hertz or five hertz.
[00:28:18] And you can do this here with a constant
[00:28:21] going into these modulation inputs here
[00:28:25] and then use very low numbers.
[00:28:27] And you can really filter out a lot of stuff.
[00:28:31] You can see it gets narrower and narrower.
[00:28:35] This kind of notch filter.
[00:28:40] And then here, these kind of bumps,
[00:28:42] these resonant bumps we can remove.
[00:28:44] I found it out by using here a low pass ladder filter
[00:28:48] instead of this SVF.
[00:28:52] And then switch this to 60 B per octave, what is it?
[00:29:03] Yeah, it's the steepness of course.
[00:29:05] Yeah, so we can get rid of these bumps here
[00:29:09] by just using the six option here.
[00:29:12] Then we can make this narrow or wider.
[00:29:17] And also if you want to go down to let's say,
[00:29:21] zero dot zero eight is 80 hertz, right?
[00:29:28] You can see here it's more or less like a low cut
[00:29:33] but we want to have a dip, we want to have a notch.
[00:29:35] So we have to make the filter lower here.
[00:29:39] Yeah, get this kind of dip here at exactly 80 hertz.
[00:29:46] It's perfectly 80 hertz.
[00:29:48] So yeah, this is also a possibility.
[00:29:53] And of course, we can add here certain macros
[00:29:57] to change maybe the frequency.
[00:30:02] Maybe we want to go to 60 kilohertz.
[00:30:05] That's the highest frequency here.
[00:30:07] Then we use an amount or attenuate here
[00:30:12] after the constant and you modulate this.
[00:30:18] Now we can change the frequency.
[00:30:20] It's not perfect.
[00:30:26] We probably want to use also exponential maybe.
[00:30:31] Maybe.
[00:30:32] Yeah, that's better.
[00:30:35] And then you probably want to use or change the constant
[00:30:45] here for lower frequencies differently
[00:30:48] to higher up frequencies.
[00:30:51] So we can use maybe a blend.
[00:30:53] So lower frequencies are here.
[00:31:00] And higher frequencies are maybe not that,
[00:31:05] not that narrow.
[00:31:10] So maybe something like this.
[00:31:12] And then use the amount knob here for the blend.
[00:31:16] So we can change here the low pass filter frequency.
[00:31:21] Yeah, cool.
[00:31:26] If you want to go lower here in volume or in notch,
[00:31:29] like it goes only to minus 60B,
[00:31:31] it's probably because we are not hitting
[00:31:34] the frequency completely right.
[00:31:36] There's maybe an offset.
[00:31:37] So what you can do here is use maybe a gain for that,
[00:31:44] then increase it again a bit more
[00:31:47] and you get more notch, more gain reduction, right?
[00:31:51] Pretty cool, huh?
[00:31:56] And it also kind of rocks here with the sound.
[00:31:59] Yeah, it's maybe not wide enough to hear it perfectly.
[00:32:13] It's always too narrow.
[00:32:15] So let's go down here and maybe make this a bit wider.
[00:32:21] Let's go here, make it a bit wider.
[00:32:26] Okay, let's listen to this.
[00:32:28] Yeah, basically your own notch filter inside of the grid.
[00:32:43] And yeah, this changes the face, sadly.
[00:32:46] So you have some face options here.
[00:32:49] It's not, it's more like an experiment.
[00:32:51] It's probably nothing you want to use
[00:32:53] on an audio track, maybe as an audio effect.
[00:32:57] What you also can do is you can,
[00:33:00] instead of subtracting here the signal
[00:33:02] from the audio signal, you can add it to the signal
[00:33:05] so you get the bump.
[00:33:06] So it's more like an, yeah, peak EQ.
[00:33:11] So you can push certain frequencies here
[00:33:13] by a certain amount.
[00:33:14] Let's try this.
[00:33:19] (drums beating)
[00:33:22] And then you add an attenuate here.
[00:33:32] You can change, oh, not that.
[00:33:35] Yeah, and you can make this to an amount knob.
[00:33:40] (drums beating)
[00:33:49] (drums beating)
[00:33:51] Right, and then you can change how much
[00:33:53] you want to push certain frequencies here.
[00:33:56] So it's basically your own EQ
[00:33:58] in a very complicated way.
[00:34:02] I mean, that's the fun part of PITVIC.
[00:34:05] So this is also a possible way here.
[00:34:08] And then you have to maybe bring here also
[00:34:11] an envelope follower.
[00:34:17] And then you can analyze here the signal, what's going in,
[00:34:20] and then you have to, you know,
[00:34:24] make some changes here for the ratio,
[00:34:26] how much you want to reduce the frequency,
[00:34:28] and then you can modulate your attenuate,
[00:34:30] or the gain, or whatever you want to do, I don't know.
[00:34:33] So this is just a way of creating a very narrow
[00:34:37] notch filter instead of using the basic
[00:34:41] notch filter of PITVIC Studio, or an EQ.
[00:34:45] You can use basically this, so it's very narrow,
[00:34:48] and it's very experimental, and it's very fun.
[00:34:51] So this is my video on resonance suppression,
[00:34:56] or how you can do it in PITVIC with native tools.
[00:35:00] I think the first one is the best one,
[00:35:03] because it's very easy, very straightforward,
[00:35:05] and it just works, but this one is fun too.
[00:35:09] Okay, let me know what you think in the comments down below.
[00:35:12] Give me a like, Merry Christmas, and I hope to see you soon.
[00:35:16] Maybe I do a stream, I don't know, probably not, maybe.
[00:35:20] Okay, thanks for watching, see you next time, bye.