AD Envelope

The AD envelope module in Bitwig Studio's Grid is a versatile tool for shaping sounds, offering attack and decay controls with multiple modes, analog, relative, and digital, that affect timing and curve behavior. It can be triggered in various ways, looped for LFO-like effects, and used together with other envelopes for complex sound design, such as crafting kick drums. The AD module stands out for its simplicity and flexibility compared to more complex envelope modules, making it a go-to choice for quick and effective sound shaping.

In this video, I explain why Sine-Oscillators can give back crackles when triggered with an AD, and I share a trick to solve this issue. When using a short attack time and triggering the Sine-Oscillator, we start at minus one, which causes a crackle. To solve this, we can ease out the attack time, or we can move the cycle to a zero crossing by using a constant and the phase knob. However, a long decay time can still cause crackles when re-triggering the oscillator. To solve this, we can use a comparison with the AD output and a gate input to wait until the decay phase is finished before re-triggering the oscillator. Additionally, I suggest starting at zero value to prevent crackles and explain how this applies to other sounds. Overall, following these tips can help solve crackle issues in Sine-Oscillators.

In this video, I'm going to show you my setup for synthesizing snare and rimshot sounds using the pulley grid in my DAW. I use the pulse oscillator because it already has a lot of overtones, so I don't need to use as much post-effects distortion. I set the frequency to around 150-160 Hz for a deep snare sound. I use an AD envelope to trigger the sound and apply an EQ5 in the PostFX to analyze and shape the signal. By adjusting the sync, I can create two partials or amplify the second harmonic. I add a Moog low pass filter and use the shape output of the AD envelope for frequency modulation. This creates a nice snare sound. I also add some noise using a noise burst and a mixer. I shape the noise with segments and use a high pass filter. I then apply a hard clip and use dither and diffusion for added spice. The EQ is crucial for shaping the sound, and by cutting below 1k and boosting around 1k, I can create a rimshot sound. I can also tweak the settings to create deep snare sounds. I can detune the oscillator slightly for a wider sound. Overall, there are many possibilities for customization using these knobs and EQs. I can also add pitch modulation if desired. Finally, I can apply a convolution effect to add roominess to the sound. This setup is great for drum and bass, dubstep, and other genres, providing a clean and focused sound.

In this video, I showed how to create various effects, such as phasers, flangers, chorus, low pass and high pass filters, reverbs, and pitch effects, in the Bitwig Grid. I demonstrated how to use FX Grids and Chain Devices, as well as how to manipulate the delay time of a signal with an LFO and the Time Shift Device. I also showed how to create a multi-tap delay with the Long Delay and a Multi-Lay, as well as how to use the gates module to record and playback audio. Finally, I discussed the use of an AD envelope to reduce clicks in the signal.

In the video, the speaker discusses the process of creating a new marketing campaign. They mention that the campaign will need to capture the attention of a specific target audience and convey a clear message about the brand or product. The speaker mentions the importance of using storytelling techniques to create emotional connections with consumers. They also mention the use of visuals and color to make the ad more memorable and engaging. Overall, the video emphasizes the importance of creating a strong and impactful ad that will resonate with the intended audience.

Physical modeling in the Grid can start very simple: send a short noise burst into a playable comb filter. This creates a basic Karplus-Strong style plucked-string patch.

In this video, I discovered a new technique for creating kick drums inside Bitwig's grid. By modulating the phase input of a sine oscillator with an AD signal and multiplying it by -10, the kick drum's tail end stays in place even when changing the pitch envelope. This allows for easy alignment with bass sounds and provides fast control over the attack phase of the kick drum.

I tried out the sign mod in Bitwig, which is a modular approach to making music. It is possible to use the grid for traditional music production, but the grid is where most of the modular magic happens. I experimented with the sign mod to create a melody, and I used the modulation capabilities to add some variations. I also experimented with using a wave table to shape the sound, as well as using an AD loop and random modulators. I concluded that the grid is a lot of fun to play with, and that the team behind Bitwig needs some time to focus on certain sections of the application in order to make it more feature-rich.

In this video, I demonstrated a trick about Valhalla Delay where I showed how to modulate the clear buffer button to create an interesting effect. I also turned all this into a musical loop, starting from a tutorial about Valhalla Delay and ending with a track from scratch. I used grid to create a variety of initial source sounds, then used a dice module to modulate the phase input, a filter, an AD, and feedback. I also showed how to modulate the clear button in Valhalla reverb and used portal for effects. Finally, I added some noise and XO stuff to make the track sound fuller.