Posts tagged with Plugins

Download Polarity-RES, a free resonator plugin for Mac, Windows, and Linux, to build bandpass filters, learn harmonics, and create drones.

Polarity MD update adds a native GUI, linear-phase crossovers, per-band clip thresholds, and better scaling for faster, clearer multiband compression.

Mini by AudioMap is a newly released sample browser plugin that uses an intuitive XY coordinate system to organize and visualize samples based on characteristics like brightness, noisiness, and percussiveness. It offers features such as customizable axes, keyboard mapping for quick playback, and the ability to scan entire directories, but currently lacks persistent folder scanning and a text-based search function. While it has some limitations like automatic sample playback on hover and missing quantization features, it is affordably priced and shows promise for rapid sample exploration and creative use.

Polarity MD is a powerful, free multi-band dynamics plugin featuring four bands with downward and upward compressors, a clipper, and a range of global controls, now updated with oversampling, linear phase crossovers, normalization, and improved output matching features. This version offers expanded compatibility with various Linux distributions and enhancements like soloing bands, accessibility improvements, and resizable interface with saved window states. Users are invited to test the latest Beta 9, report bugs or requests, and enjoy a robust mastering tool without registration or cost.

Polarity MD is a newly released, completely free multiband dynamics plugin featuring four-band OTT-style compression with both upward and downward compression, as well as clippers on each band and the input and output. Compatible with all major platforms and plugin formats, it has a user-friendly, web-based interface and is designed to make tracks louder and more controlled with minimal setup. The plugin is currently in beta, available for download, and the developer welcomes feedback and suggestions to improve its performance and features.

The Melda MMatcher EQ plugin is a powerful tool for achieving consistent frequency balance across tracks by allowing you to create and use custom reference curves, including separate processing for mid and side channels. It excels at quickly identifying mix issues and ensuring a uniform sound, especially when working with albums or EPs. The plugin can be applied not just on masters but also on individual buses like drums or bass, and you can create more reliable reference curves by averaging multiple tracks, with advanced features for fine-tuning and analyzing by stem if desired.

A first look at FL Studio Web, including instruments, samples, pattern tools, effects, automation, and how the browser DAW compares to desktop workflow.

Temperance Light is a plugin marketed as a revolutionary musical reverb, but it essentially combines a reverb with a filter, offering a polished look but limited flexibility. In Bitwig Studio, you can easily recreate and expand on its features using onboard devices, allowing for much more customization, like choosing your own reverb, filter types, and even adding delays. By building this effect yourself, you gain deeper creative control and a better understanding of sound design, rather than being restricted to a single, fixed plugin.

This video reviews the Infinite plugin, a free AI-powered tool, likely made by Google, that generates an endless stream of music based on user prompts and context, allowing detailed control over the composition process. The creator acknowledges concerns about AI, such as data usage from artists and environmental impact, but is interested in exploring its creative potential and hopes for future open-source or local versions. Overall, the plugin inspires fresh ideas and background textures for musicians while letting them directly shape the generated output, despite some technical limitations and the broader uncertainties about AI in music creation.

In this video, I demonstrate how to recreate the functionality of the popular hardware device, the High Court, inside Bitwig, allowing you to play and modify diatonic chord progressions using your keyboard instead of spending hundreds on the physical unit. I showcase how to set up and use my Bitwig preset for easy chord selection and modification, and how to record the results into a MIDI track. You can download my free preset from GitHub, and I'm open to feedback or requests for additional features or Bitwig Studio 5 compatibility.

Today I compared three spectral compressors, DSEQ3, Spectral Compressor, and Spectraft, explaining my preferences, typical use cases, and cautioning against overuse due to their potential to strip music of its character. I prefer DSEQ3 for its smart AI features, custom threshold curves, and affordability, but use Spectral Compressor mostly for spectral sidechaining and find Spectraft to be the most versatile, albeit pricey. Ultimately, I advise subtlety with these tools, emphasizing that a well-balanced mix done at the track level always sounds better than heavily processing the master.

In this video, I discuss how to use the free and open-source spectral compressor plugin in Bitwig for precise sidechaining and frequency ducking, especially when working with combined drum loops and bass tracks. I demonstrate how its audio-rate processing and flexible attack and release times make it uniquely effective for not just kick and bass, but also for managing overlapping frequencies in pads and leads, allowing for detailed mix control without needing separate drum tracks. While powerful, the plugin requires careful adjustment to avoid overly digital or unnatural results, and I encourage viewers to experiment and share their own use cases.

In this video, I introduce Spectrum Thief, a free plugin designed to clone EQ curves from speaker cabinets or amplifiers, which I also creatively use to streamline EQ chains and match sounds like snares and percussion. The plugin allows you to capture and export impulse responses, saving CPU and making it easy to share projects without requiring others to have the same plugins. Its high-resolution matching and flexible features make it a powerful tool for both guitarists and electronic producers looking to replicate or shape unique spectral signatures.

Forever 89 has released VISCO 2.0, a drum sampler and synthesizer that allows users to morph between different sounds and easily play them in key without needing to set a root note. The update introduces new tonal features, enabling users to turn samples into playable synth patches, create pads, and experiment with harmonics and modulation for unique sonic results. The upgrade is free for existing owners and brings enhanced flexibility and creativity, making it even more useful for sound design and music production.

Atlas 2 by Algonaut helps you organize drum samples, build random kits, and sketch beats quickly with sequencing tools for faster beatmaking.

Melda's Multi-Analyzer is a powerful and affordable plugin that lets you visually analyze the frequency content of multiple tracks in a single window, working seamlessly with Bitwig Studio. It offers clear visual features like spectrum, sonogram, collision detection, loudness, and stereo field monitoring, along with practical adjustments for smoothness, normalization, and prioritization. Despite previously disliking Melda's interfaces, I found this plugin highly effective and user-friendly, making it an excellent value, especially at its current discounted price.

Reev-R is a free, open-source convolution reverb plugin available for Windows, Mac, and Linux that allows detailed envelope shaping, sample stretching, and automated reverb control. It supports custom impulse responses and includes additional features like integrated delay and various envelope curve options, making it highly flexible for sound design. Recommended for users seeking an alternative to paid creative plugins, Reev-R offers professional-grade functionality and is actively developed with community feedback.

OpenDAW, a digital audio workstation previously featured on the channel, is now fully open source and available on GitHub, allowing users to download, modify, and build it freely. The platform can be accessed via the web or built locally, includes new tools like a drum sampler, a groove tool, and a piano tutorial mode, and is completely free with no subscriptions or hidden costs. Users are encouraged to explore its features, contribute to the project, and support the developer if possible.

In this video, I explore Filt-R, a free and open-source filter plugin by the creator of gate 12 and time 12, which lets you automate both filter cutoff and resonance using envelopes and different filter models like Moog, MS-20, and phaser. I demonstrate how to shape filter movement and resonance over time, sequence envelopes visually with the waveform background, and show how useful this is for creative sound design, especially for basslines in Bitwig. If you’re interested, you can download it for free from GitHub (link in the description), and I’d love to hear your thoughts in the comments!

In this video, I demo the new Time 12 plugin, which is a free, open-source time shaper/delay buffer now available on all major platforms, and I showcase its new sequencer feature along with some creative uses for ambient sound design in Bitwig. I walk through generating random waveforms, manipulating playback speed and pitch with the sequencer, and layering additional effects like reverb and delay for more texture, plus I highlight similar updates in Gate 12. If you’re interested, the download link is in the description, please like, subscribe, and consider donating to support the developer!

Last week, I attended Superbooth in Berlin, where I checked out a lot of synth and software gear, including a standout product from GRM Tools called Atelier, a semi-modular VST focused on sound design and ambience that really impressed me with its intuitive interface and high-quality sound. Developed by just two people (one being a musician), Atelier reminds me of Bitwig’s modular approach and looks promising for creative sound exploration, especially with its excellent modulation options and channel routing features. Look out for its release in September, I’ve included a link to their site below if you want to stay updated!

In this video, I demonstrate the new Gate 12 plugin, a free and open source audio gate that now works on Windows, Mac, and Linux, with added features like audio and MIDI triggers, sidechaining, and a paint mode for custom envelopes. I show how to use it in Bitwig to gate a bassline using both audio and MIDI triggers, highlighting its flexibility and ease of use. If you need a feature-rich, cross-platform, and free alternative to plugins like LFO Tool or VolumeShaper, check out Gate 12 via the link in the description.

In this video, I show you how to use formulas in Serum's wavetable editor to create unique waveforms by manipulating variables like X, V, and Q. By focusing on simple mathematical expressions and randomization, you can generate interesting sound variations across different harmonic bins. Experiment with these techniques to expand your sound design possibilities in Serum.

In this video, I recommend two open-source, free plugins: Gate1 and Time1. Gate1 is great for shaping volume with precision, offering features like waveform visualization that you won't find in similar tools. Time1 allows you to manipulate delay time for creative effects like halftiming or simulating turntables.

In this video, I dive into the free Filter plugin by blepfx, exploring its features, including various filter modes, modulation options, and its unique interface controls like middle mouse button clicks. I demonstrate its sound capabilities and how it can be used in a music production setup, noting its integration with Bitwig. I encourage viewers to try it out, highlighting its versatility and recommending other free plugins from the developer.

In today's video, I explored the Concatenator by DataMind Audio, a unique granular audio effect that uses samples from your hard drive to replace the input signal, matching pitch and dynamics with a clever algorithm. It offers various customizable grain settings and can create interesting textures and ambient sounds, making it a versatile tool for music production. There's a seven-day trial available, and I find it an innovative concept worth checking out.

In this video, I introduced Topos, a new saturation distortion plugin with unique features like a topological view for creating custom distortion curves and detailed module settings for the input filter, amplifier simulation, and speaker simulation. While I appreciate the plugin's design and sound quality, I found the behavior of the settings window slightly annoying as it automatically reverts to the wave view. Despite this minor issue, I recommended downloading the demo version, Topos Play, to try it out, as it's lightweight, affordable, and doesn't require iLok.

In this video, I provide an overview and my initial thoughts on the newly released Xfer Serum 2 synthesizer, highlighting its new features like the addition of a third oscillator with multiple modes, an updated GUI, and an expanded modulation system. While I appreciate the free update for existing owners of Dune 1 and the powerful sound design capabilities with features like the wavetable editor and a variety of filter options, I also express some concerns about its interface limitations such as the limited number of LFOs and the cumbersome modulation adjustments. Overall, Dune 2 is a solid and versatile synthesizer package, though not revolutionary, with its best-in-class wavetable editor and added functionalities making it a worthwhile investment.

In this video, I demonstrated how to recreate the Delta distortion plug-in in Bitwig Studio by using techniques such as amplitude modulation and signal subtraction to generate overtones and modulate the original signal. I outlined the patch setup, including using a band-splitter, AMRM module, and customizable distortion curves, allowing for modulation with either the side chain or the main signal itself. You can download my preset for free from my GitHub to experiment with these techniques in your own projects.

In the video, I discuss updates and features for openDAW, addressing viewer concerns and emphasizing its focus on accessibility and openness, including offline usage through PWA and potential self-hosting options. I highlight recent additions like project bundling, sample imports, and automation clips while encouraging viewers to attend a Discord meeting with the developer for further engagement. Additionally, I clarify misunderstandings about the application's cost and intentions, promoting its future as a free and open-source tool.

In this video, I introduce and explore RipplerX, a new and completely free open-source physical modeling plug-in that works across Mac, Windows, and Linux. It offers a simple, straightforward interface without effects or excessive modulation features, allowing users to focus on crafting sounds through its resonator configurations. I appreciate its low storage requirement and encourage viewers to try it out, highlighting the link in the description for easy download.

I'm introducing openDAW, a new digital audio workstation that's completely free, open source, and runs in your web browser, making it accessible for everyone without requiring any login or subscription. Created by Andre Michel, who has a rich history in web-based audio tools, openDAW is a prototype designed to provide music-making capabilities from beginners to experts without any cost or restrictions. If you're interested in getting involved or giving feedback, you can join the openDAW Discord channel, where a prototype party is currently underway.

In my video, I demonstrated how to use the Oculus Spatializer plugin to create immersive spatial sounds by positioning audio sources around the listener's head using headphones for best effect. I showed how layering, stretching, and positioning sounds can craft a wide, binaural soundscape, enhancing pads and drones with increased spatial depth. The plugin is free, and I shared a link in the description for those interested in trying it out.

In this video, I demonstrate how to replicate the silencer effect in Bitwig Studio using native tools. By utilizing a chain container with a reverb plug-in and modulating it with an ADSR, I can reset the reverb tail with each new note. This technique may not match the silencer plug-in's quality, but it provides a similar effect using Bitwig's native capabilities.

In this video, I attempted to replicate the Newfangled Audio's Elevate plugin using Bitwig Studio by creating a similar mastering setup with a filter bank, compressor, and clipper. I utilized impulse responses for band splitting, which helped maintain CPU efficiency, and included modular options for compression and limiting to tailor the audio to personal taste. The project file is available for download in the description for viewers to try and provide feedback.

In this video, I introduced a unique plugin called OSCI-Render that allows you to create visuals inside an oscilloscope using sound. It combines audio and visual effects and supports various file formats like SVG, LUA, and text files, enabling you to encode visuals universally visible in any oscilloscope. The plugin is pay-what-you-want, and I've provided links to it and the creator's YouTube channel for more information.

What is PlugData, and why are so many people interested in it? This guide explains the open-source patcher, how it can build VST and CLAP plugins, browse patches, and work as a more accessible Pure Data environment.

In my video, I introduced and reviewed minimalaudio's new free plugin, Squash, an over-the-top compressor ideal for genres like dubstep and drum and bass. I explained its features, including the unique "amount knob" that avoids phasing issues, and demonstrated its impact on audio using Bitwig and Addictive Drums. Overall, I found Squash to be a powerful and simple tool worth trying, especially since it's free to download.

In this video, I rediscovered an old plugin called Curve EQ, which I've had for around 20 years and find invaluable for layering drum loops by using its match EQ feature to remove overlapping frequencies. Instead of constantly adjusting a regular EQ, I've shown how to use Curve EQ to statically match and inverse the frequency spectrum of a simple kick and snare loop with another drum loop, achieving perfect layering without CPU strain. I also expressed a wish for some of these features to be integrated into the main GUI for easier access, and suggested it to the developer, Alexei.

In this video, I discovered that the Unfilter plugin, which I initially used primarily for removing resonances, has a fascinating feature that allows you to export transfer curves as impulse responses. This capability enables you to mimic the resonances and filter characteristics of one sound on another, creating a more cohesive and authentic sound environment for your audio projects. If you own Unfilter, give this feature a try; if not, consider adding it to your wishlist for future purchases.

In this video, I explain the concept of ring mod sidechain modulation and demonstrate how to achieve it in Bitwig Studio. I discuss the potential for distortion using this method and suggest using Bitwig's audio sidechain modulator as a cleaner alternative. Additionally, I provide a more advanced setup in Bitwig's FX Grid for precise control, with both presets available in the video description.

In this video, I discuss the Snapback plugin by Cableguys, which detects drum triggers to layer samples on top or in front of drum sounds, and compare it to a Bitwig Studio native solution. I demonstrate how to use the Bitwig Replacer device to achieve similar results, offering a free preset for viewers to experiment with. Ultimately, I highlight the Snapback plugin's intuitive interface and quality sample selection as key value points.

I recently explored the Ripple Delay plugin by Process Audio and found its ability to integrate effects within the feedback loop, while allowing delay times as low as one millisecond, to be quite impressive. This feature is currently challenging to replicate in Bitwig Studio due to its limitations with buffer size, which affects delay time when effects are included in the feedback chain. I'm hopeful for future updates in Bitwig, but in the meantime, I recommend trying out this plugin to experiment with creating unique soundscapes.

In this video, I discuss the new free update for XLN Audio's Addictive Drums 2, which I've used for nearly two decades. The update improves the plugin's layout with modern visuals, UI rescaling for better visibility on 4K screens, and some new features like a multi-band compressor and trigger gate. I'm thrilled with these subtle but impactful changes, making it a pleasure to use moving forward.

Drumclone extracts and re-synthesizes drum sounds from mixed audio, making it useful for isolating kicks, cloning percussion, and rebuilding breakbeats.

In this video, I provide updates on several plugins, including KickNinja's new features like phase locking and improved sample layering, making it one of the best kick drum VSTs available. I also discuss Node Grabber, a straightforward tool for manual audio-to-pitch conversion, although I find it overpriced. Additionally, I share my experiment with creating a spectral analyzer using AI to code web applications, which is accessible online for free.

In this video, I demonstrate how to replicate the functionality of the Plasma plug-in by iZotope within Bitwig Studio. By using techniques like loud split, EQ adjustments, and saturation, I create a flexible method to achieve similar frequency-specific saturation effects without the high CPU usage. I also provide a free preset for download, encouraging viewers to like, subscribe, and share their thoughts in the comments.

In this video, I discuss the newly released beta version of Kick3, comparing it to Kick Ninja and highlighting its parallel processing approach for better kick drum creation. Despite having the flu, I demonstrate Kick3's features, such as the ability to analyze and separate acoustic drum loops, key tracking, and a modular effects section. While still exploring its potential and acknowledging some bugs, I'm excited about its future use and improvements.

In today's video, I'm introducing the Kick Ninja VST plugin, which stands out from other kick drum synthesizers because it allows you to recreate kick drums from samples using AI and features pitch tracking for customizable 808 and trap sounds. You can drag in samples to analyze and mimic the pitch envelope and attack phase, and there's also a useful export feature to easily drag samples into your DAW. The plugin includes typical oscillator and sampler functions, along with distortion and compression, making it a versatile tool for creating unique kick sounds.

In today's video, I walk you through my attempt to replicate the beloved early 2000s plugin, CamelCrusher, inside of Bitwig Studio, focusing on its Tube and Mac distortion algorithms, and the filter. Although I left out the compressor and some features like preset saving, I think my version gets pretty close to the original, especially in hitting the key harmonics. You can try my free preset by downloading it from the link in the description, it's a handy alternative to the non-resizable 32-bit VST.

In this video, I attempt to recreate the WIDER 2.0 plug-in by Infected Mushroom inside Bitwig Studio. I demonstrate how the original plug-in works by creating peaks and dips in the frequency spectrum, which cancel out in mono, and then I showcase my own preset that mimics this effect, with added controls for more customization. Finally, I highlight that my preset may sound slightly better and more natural due to the included convolution reverb on the side channel.

In this video, I discuss the highly requested Drum Buss device in Ableton Live and how it can be replicated in Bitwig Studio. I provide a free preset download that mimics the functionality of the Drum Buss using native Bitwig devices. I encourage viewers to download the preset and provide feedback to help improve and tailor it to their preferences.

In this video, I discuss the controversial Sausage Fattener plugin and its effect on music. I explain that it functions as a soft clipper with a compressor in front, preventing audio material from clipping too hard. To demonstrate its impact, I provide a free preset for Bitwig Studio that closely replicates the plugin's sound.

Looking for an Oxford Inflator alternative in Bitwig? This guide explains what the plugin does, how to recreate the curve with native Bitwig devices, and where to get the free preset.

In this video, I demonstrate the sounds of my PFAM, a replica of the Moog DFAM, inside Bitwig Studio. I explain the layout and modifications I made to the original device, showcasing its percussive capabilities and versatility as a techno sequence generator. The preset is available for free download and I welcome feedback and suggestions for future devices.

In this video, I recreated the Subharmonicon synthesizer in Bitwig Studio. The layout consists of two main oscillators with sub ratio knobs for dividing the frequency. There is also a mixing section, routing panel, and pulley rhythms for creating unique sequences.

In this video, I showcase my recreation of the Moog synthesizer called Labyrinth inside of Bitwig Studio. I explain the different sections and features of the synthesizer, including the oscillators, mixing section, wave folder, filters, routing options, VCA, and more. I also mention that I might implement a corrupt feature in the future to randomize the sequences, but for now, the preset can be downloaded for free.

In the video, I talk about zPlane's new plugin called Peel Stems, which is an updated version of their previous plugin, Peel. It allows you to separate stems in real-time or adjust their volume using the drums, bass, vocals, and other knobs. I demonstrate its effectiveness by showcasing examples with various tracks, highlighting its ability to separate stems even in heavily processed and compressed masters.

In this video, I explain how to replicate the functionality of Corpus in Bitwig Studio. Corpus is essentially a resonator with specific frequencies, and by adjusting parameters like type, resonance, and in-harm, you can create different resonances and effects. I also provide a preset that emulates Corpus within Bitwig Studio and offer the option of using AAS's Object Delay if you want to achieve the exact same sound.

The Moog Spectravox is a new vocoder/filter bank with limited features, but the sound quality is what sets it apart. While it's possible to replicate it in Bitwig Studio, it doesn't make sense to do so because the hardware device has a unique sound that can't be replicated in software. However, I've created a preset in Bitwig Studio that mimics the functionality of the Moog Spectravox for those interested in exploring it further.

Learn a fast drum and bass workflow in Bitwig: sketch drums with Addictive Drums, bounce and repitch the loop, layer synthetic hits, and add a bass sound that fits the groove quickly.

In this video, I showcase a new plug-in from a German company that costs $22. It is a kick drum generator with a user-friendly interface and precise kick drum generation capabilities. The plug-in allows for easy alignment with the bass and offers unique features such as frequency and gain envelope shaping, as well as an auto gain function.

In this video, I discuss the EQ Three by TP Pro audio, emphasizing that it is often overlooked due to the lack of advertisements or sponsored videos. I demonstrate various ways to use the EQ, such as as a track spacer or a spectral gate. Additionally, I explain how it can be utilized as a "magic cue" or an analyzer for comparing frequency distributions between tracks.

In the video, I demonstrated how to set up an XO preset in Bitwig Studio to avoid muting and unmuting the return channel. By muting the individual buses and leaving the master channel untouched, you can hear the preview of samples without any audio leakage. Additionally, I showed how to create a mono bass sound using the Serum wave table editor, removing the fundamental and replacing it with a stable mono sine wave, while still maintaining a stereo spread on top.

In this video, I discuss Visco, a new drum sampler that was released five days ago. It is a unique drum sampler that divides the samples into the spectral domain and allows for morphing and twisting using modifiers. This tool is perfect for sound design and specifically designed for percussive sounds.

In this video, I found a distortion device on Reddit that allows me to load in a wave table and create different distortions by morphing through it. By using a high pass filter, I can eliminate the DC offset and achieve better results. Additionally, instead of using wave tables, I can also use multiple transfer curves, merge them, and blend between them for different distortion effects.

In this video, I explain how to rebuild the Trash 3 plugin in Bitwig Studio. I demonstrate the process step by step, using various devices and macros to replicate the features and functionality of Trash 3. The video includes download links for the preset and encourages viewers to have fun experimenting and customizing the setup.

In this video, I successfully replicated Harmony Bloom inside of Bitwig Studio with a few differences. Harmony Bloom is a Polyrhythm generator that allows you to generate notes and control various parameters such as note length, loop length, probability, offset, and more. Although my replication may not be 100% accurate, it provides a similar functionality within the grid of Bitwig Studio.

In this video, I downloaded a plugin called Bloom by Oeksound, which is a spectral-based tone shaper with four bands and adjustable center frequencies and volume changes. It also offers compression, attack and release settings, stereo modes, and presets. However, I found the price of $200 and the requirement of I lock installation for the trial version to be downsides, making it too expensive for what it offers.

In my new video, I announced that KVR, the popular plug-in website, has released a free local plug-in management solution for Windows and Mac. This application scans your hard drive for VST2, VST3, and CLAP plug-ins, providing a list of all your installed plug-ins. You can synchronize this list with KVR for updates, reviews, and forum discussions.

In this tutorial, I demonstrate how to create ambient sounds using 32 instances of Paul Stretch. I start by selecting sounds from the Triton plugin and adding random reverbs for depth. Each instance is then sampled using different keys, lengths, and stretch amounts, resulting in a varied and powerful drone sound. By layering these instances and adding simple melodies, you can create a thick atmospheric dance track.

Today I tackled the problem of using multi-out VSTs like XLN Audio XO with Bitwig Studio's drum machine rack. After some trial and error, I found a solution that allows each drum pad to trigger a separate sound in the VST. By setting up audio receivers and note FX devices, I was able to seamlessly integrate the VST drum machine while still maintaining the functionality of the native drum machine in Bitwig Studio.

In this video, I discuss the new update for the Fog Convolver 2 plugin by Audio Thing. The update includes a space simulator created by Lese, which allows users to adjust various room parameters, generate impulse responses, and export them as wave files for use in convolution devices like Bitwig Studio. I also mention that if viewers don't own Fog Convolver 2, they can check out Lese's plugin called Eigen, which offers similar features as a standalone space simulator.

In this video, I demonstrate how to replicate the concept of Arturia's EFX Refract plugin using Bitwig Studio's Bitwig Grid. I outline the process of creating multiple voices, applying delay and modulation effects, and implementing a bandpass filter for each voice. While I couldn't replicate the plugin's 3D interface or harmonizer, this tutorial serves as an inspiration for creating similar effects in the Bitwig Grid.

In this video, I discuss the controversial subscription system of the Current synthesizer and my personal thoughts on it. I then proceed to demonstrate how to create a pad sound using the synthesizer's newest update, utilizing various wave shapes and filters, as well as effects like chorus, delay, and reverb. I also mention the possibility of future tutorials focusing on bass sounds using Current.

In this video, I introduce the new VST plugin called Live by XLN Audio. It allows users to find slices within audio material and create percussion loops using different patterns. The plugin offers features such as auto slicing, denoise option, pattern variation, and the ability to drag in samples or record directly from the iPhone app.

In this video, I explore creating a buffer repeat effect similar to Freezer within the Bitwig Studio grid. I demonstrate three different versions: one using triggers and modulation, another using predefined triggers, and a third using a scalar with the ability to shape the volume of each repeat. These methods allow for unique and customizable effects that can't be achieved with standard plugins.

In this video, I share my experience with replacing VST plugins and discuss how companies don't actually hate me for it because of the advantages offered by certain plugins. I demonstrate how to replicate the features of a reverb shaper using a chain device, tool device, and convolution reverb in Bitwig Studio. Additionally, I explore the unique effects that can be created using the fade mode in the Delay Plus device.

In this video, I discuss a new EQ plugin called Scaler EQ, which allows you to select a scale and only choose frequencies that are within that scale. I demonstrate how you can replicate this functionality in Bitwig Studio by using EQ plugins and the pitch quantizer. While the interface cannot be replicated, the technical aspects can be achieved.

In this video, I discuss my thoughts on the granular engine in the synth and how I miss having a record button. I demonstrate how I use my vocals recorded in a DAW to create a pad sound, adjusting the pitch and experimenting with various settings. I also showcase the use of wave tables, a morphing filter, LFOs, and effects like reverb and delay to create a textured and evolving sound.

In this video, I demonstrated how to make improvements to our small plug data sampler. I showed how to utilize symbols and send/receive objects to simplify the patch, as well as addressed bugs and added a solution to the clicking problem when writing and reading from the same array. Additionally, I explained how to convert the length of the buffer from seconds to milliseconds and sync it with the host's BPM using the playhead object.

In this video, I introduce a new plugin called Current by Minimal Audio which combines various features that musicians love. The plugin includes wavetable oscillators, a granular engine, sub oscillator with harmonics, a sampler, and a range of filters. Additionally, the plugin offers modulation sources, keyboard controls, macro controls, and an impressive effect section.

In this video, I demonstrate my process for creating ambient sounds and tracks using the Synplant synthesizer. I start by exploring different sounds and using the randomize feature to find new ones. I then adjust the envelopes and effects, and also incorporate Supermassive and Paul Stretch for added texture and ambiance.

In this video, I introduce the latest version (0.8) of Plug Data, a tool for creating VST and CLAP plugins from Pure Data patches. I demonstrate how to export a Pure Data patch as a VST plugin using the new feature in version 0.8. Although GUI elements cannot be exported with the plugin, this method offers a straightforward and free way to create native plugins using Pure Data.

In my latest video, I discuss SynPlant 2, a groundbreaking synthesizer with the new GenoPatch feature that uses machine learning to create FM patches from samples. This feature allows users to generate multiple FM patches from a single sample, with options to adjust tuning, volume, and grow out different sound variations. I believe this is a game-changing innovation in the world of synthesizers and hope to see other synths incorporate similar features in the future.

In this video, I continued working on my sampler or looping station patch inside Plug Data. I made some improvements to make it more dynamic and turned it into a plugin-like interface. First, I addressed the issue of fixed numbers by using the sample rate module to get the current sample rate of the DAW. This allows the patch to adapt to different sample rates. I also used a dynamic variable for the buffer size by using the send and resize commands. This way, the buffer size can be changed based on the desired length of audio to be recorded. Next, I made the fade out delay time dynamic by subtracting 200 milliseconds from the buffer length. I also added a feedback feature to create a decaying audio signal.

In this video, I demonstrate how to use Pure Data as a plugin inside Bitwig. I explain the process of recording and sampling audio into an array, manipulating the playback speed, and adding fade-in and fade-out effects. By understanding these techniques, viewers can explore creating their own plugins or prototype their own audio projects.

The video is about a website called Basic Pitch developed by Spotify, which converts audio to MIDI. However, the drawback is that it runs slowly in the browser. The video then introduces Neural Note, a native VST plugin developed by Damien that can be used in any DAW. It shows how to use Neural Note in Bitwig Studio to convert an audio file of a piano sample into MIDI. The video explains the various settings and features of Neural Note, including note sensibility, split sensibility, minimal note duration, scale quantize, pitch bend mode, and time quantize. However, the video mentions a drawback with the recording feature and suggests improvements for future updates. Overall, the video recommends Neural Note as a useful tool for converting audio to MIDI and provides a link for viewers to download it.

In this video, I show how to record your microphone and convert it into MIDI notes to trigger random samples in Bitwig Studio. To do this, I use a trigger to trigger the kick drum, snare, and hi-hat samples, and a hardware device to select the microphone input. I also use an auto-leveler with a follower, threshold, and sustainer to amplify the vocals and filter out noise. To separate the sounds, I use a sound key filter with a bandpass, low pass, and high pass, and use logic to exclude certain combinations of triggers. Finally, I use a quantizer in trigger mode to put all the triggers on the grid. Overall, this process requires a lot of tweaking and filtering to find the right sweet spot, but it can be done in Bitwig Studio with some experimentation.

In this video, I explain how to make a physical modeling synth in the Reason software. Physical modeling is a way of replicating real-world objects in a synth by modeling their resonances and frequencies. To start building the physical modeling synth, we need to introduce an exciter and use multiple bandpass filters. The resonance frequency of objects is specific to their material, and the frequencies of the overtone change with time. We need to introduce envelopes for each overtone that changes over time. We can use multiple partials and tune the frequencies of the bandpass filters to replicate specific objects' resonances. Loudness is also crucial, and we can use multiple envelopes for each harmonic. We can use a comp filter or use a ratio knob to target specific harmonics. Alternatively, we can introduce all harmonics and remove the ones we don't want. It's an intricate process, but the result is worth the effort.

In this video, I share my process of creating risers and transitioning effects using the global modulator in Bitwig Studio. I was inspired by UJAM's final boost and Data Life's Endless Smile plugins and wanted to replicate the effects in Bitwig. Instead of using manual automation, I used the curve editor to create a ramp that gradually increases the effect's intensity over time. I demonstrated how to apply this technique to individual tracks, such as chords, bass, and percussion, to create more dynamic and interesting effects with precise control. This technique is a great VST replacement and allows for more creative flexibility in creating risers and sweeps in your music.

In this video, I show how to replace Kick 2 with basic grid patching in Bitwig Studio. I demonstrate how to recreate the functions of Kick 2 using the grid, including the oscillator, envelopes, click sound, EQ, distortion, and more. This offers more flexibility and customization options compared to using Kick 2, allowing users to create their own unique kick drum sounds.

I recently bought the Minimal Audio Cluster Delay plugin, and in this video I gave an overview of what it can do. I showed how to adjust the delay, add effects, sync it to a beat, and use the randomization button to get a random preset. I also mentioned that the plugin is currently on sale for $50.

In this video, I'm going to explain how I recreated the Eurorack module by Eventide called Misha in Bitwig Studio. I'll explain how it works, how to download the patch, and how to recreate it from this video. I'll also demonstrate how to use the keyboard, trigger buttons, and sequencer to control it. Finally, I'll show you how to transpose and use the key filter to create different scales. So, stay tuned and I'll show you how to make your own Misha clone!

In this video I discussed how to mimic the behavior of the DSEQ3 with Bitwig Studio's native Loud Split device. I demonstrated how to set the Loud Split device to a 3 dB per octave tilt setting and how to adjust the loudness level, knee setting, and rise and fall settings. I showed how to identify resonances and over amplified frequencies in a mixdown and how to use the Loud Split device to reduce these frequencies. I also suggested using the Loud Split device for mastering.

In this video, I demonstrated how to create a simple auto-leveling patch in the grid. I used an oscilloscope, a divide or division operation, and a follow-off to average out the audio signal. I also implemented a threshold algorithm to make sure that the auto-leveler doesn't amplify noise annoyingly. This technique works in any modular environment and can be useful for maintaining the same loudness level for a generative grid patch or audio clip.

I just installed the Morph EQ by Minimal Audio and wanted to share my first impressions of it. It is an EQ that allows you to draw in the desired EQ curves, giving you a lot of sound design possibilities. You can assign an LFO to it or use automation to modulate the curves. It also has a randomize option which can create some great results. It's a great plugin for sound design and I would definitely recommend it.

In this video, I show the new features in Rift 2.0, a powerful plugin for sound design. I demonstrate the different features, such as the dark skin, two panes, presets, and more. I then experiment with different sounds, such as sine waves, noise, and drums. I also show how to use the filtering, modulation, and feedback options. Finally, I recommend downloading the free Rift Filter plugin to get a taste of what Rift has to offer.

In this video, I show how to recreate the magic effect section of an Roland SP404 sampler hardware device in Bitwig Studio. I explain how to make a chain device to contain all of the effects, and then I go through each effect step-by-step. I demonstrate how to create a beat repeater, a bit crusher, an EQ, a delay, a filter, a pitch wobble, and a low fire effect. I also show how to use remote controls to trigger the effects and how to synchronize them to the beat grid. Finally, I provide a free preset to download in the description.

In this video, I showed how to use my voice as an instrument inside Bitwig Studio. I demonstrated how to create a vocal pad sound by using a Voice stack modulator and then showed how to use the Poly-Grid to control synths with my voice. I also showed how to use the Melda Auto Pitch Plug-in to create sounds on the fly and use a Zero Crossings module to get a clean pitch signal. Finally, I demonstrated how to create percussion sounds with my voice by using filters and transient shapers.

I created a preset card Hard-Clip for Bitwig Studio to clip the peaks of audio signals without going into the red or having intersample issues. The preset consists of Bit8, initial settings and two tool devices. I explained how to use it and how it can help to make a track sound louder and more percussive. I shared the preset in the description of the video, in my GitHub repository, on bitwig.community/presets and on the Bitwig Discord. I encourage viewers to save money and support my channel by using the link to the Bitwig Store with my code.

In this video, I share some tips and ideas on how to use the new features in Bitwig Studio 3.2. I show how to create a bassline using the new arpeggiator and expression modulator, how to create layered instruments with instrument selectors and round-robin, and how to create evolving chords with note FX selector, arpeggiator, and diatonic transposer. I also demonstrate how to create sounds with Poly-Grid, create a reverb effect that only activates when the key is released, and how to create a strumming effect with note delay. These new features offer a lot of possibilities for sound design and creating patterns and chord structures. Using my code "polarity" in the shop can save you 10% on the price while supporting my channel.

In this video, I am showcasing my new free preset for adding textures to sounds in Bitwig Studio 3.1. I demonstrate how to use the remote controls to mix in the texture, amplify the texture sample, change the texture, and use pink noise. I also explain how the rise and fall controls work for amplitude modulation and how to use the postfx box for EQ, transient shaping, and peak limiting. The preset is called textures and can be downloaded on my Patreon page for $1 or for free if you are already a patron. I also mention my plans to add more textures samples in the future and ask for feedback on the preset.

Hey everyone, today I demonstrated what you're missing if you use a lot of VST plugins but don't utilize Bitwig. I showed how Bitwig's modulators can easily control parameters within both native devices and VST plugins, creating complex modulation patterns and saving them as presets. If you found this helpful, please like, subscribe, or support me on Patreon, see you next time!