Convolution

In this video, I explore the concept of convolution and whether it's possible to do inside the grid of Bitwig Studio. I showcase a preset I created that allows users to alter an input signal with a convolution signal. I explain the basic concept of convolution, which involves multiplying an input signal with an impulse response and adding it to the output signal. I share a website that helped me understand convolution better and demonstrate how I tried to make the preset work within the limitations of the grid in Bitwig Studio. I acknowledge that this preset has its flaws and limitations, but I still offer it for those who want to experiment and learn more. Overall, this video is a documentation of my learning process and I invite viewers to share their ideas and insights in the comments.

The convolution device in Bitwig Studio acts like an Instagram filter for your audio, using impulse responses to place your sounds into different acoustic spaces or through sampled devices. You can customize the effect with controls for tuning, EQ, pre-delay, envelope shaping, stereo width, and mix between dry and wet signals. This lets you easily give your sounds unique textures, from realistic room ambiances to creative effects, simply by loading different impulse responses.

In this video, I showed some tricks and inspirations for using convolution reverb. I explained that it can be seen as an Instagram filter for your sounds and can be used to replicate hardware devices, effect chains, and even create interesting rhythmic effects. I also showed how to use impulse responses from external hardware devices and VST plug-ins, as well as using a noise burst and an ADSR to create a fake diffusion network. All of this can be done in a CPU-efficient way, making convolution reverb a very versatile effect.

In this video, I share some tips and tricks for sound design in Bitwig Studio. I start by showing how to use the System Audio Bridge and Rolling Sampler tools to record audio from the browser into Bitwig. Then, I demonstrate how to use a sample to shape a sign oscillator in order to create a richer kick drum sound. Next, I show how to use a convolution device to add tonality to a hi-hat and how to apply this technique to synth sounds as well. Finally, I demonstrate how to use convolution for clap and percussion sounds and how to shape these sounds using various modules in Bitwig. Overall, the key to getting the most out of these techniques is to pay attention to the input sound and shape it appropriately to achieve the desired results.

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.

I opened up Bitwig Studio and had no plans for what to do today. I started experimenting with the new sampler and found it was great for sampling my voice and other sounds. I also used the convolution reverb to create rhythmic noise convolutions. I explained the pitch hurts module and demonstrated how to use Poly Grid to create melodies. I added some effects and a supermassive to create an underlying drone sound. The track doesn't make sense, but it was a fun experiment.

In this video, I share my process of capturing impulse responses inside Bitwig Studio. I demonstrate how to use a test-tone device to generate the desired impulses, export and edit them in an audio editor, and then use a sampler and convolution device in Bitwig Studio to create unique reverbs. I also explain the importance of combining convolution reverbs with algorithmic reverbs for a more dynamic and realistic sound.

In this video, I demonstrate how to use the spacer plug in air, a modular reverb or delay effect by Spectral Audio. I show how to combine multiple delays and reverbs in the chain, as well as how to adjust the mix, output gain and EQ for each module. I explain the features of the convolution reverb, the crane reverb and delay, the normal delay, and the chorus and utilities, and explain how the dice button can be used to randomize parameters. I mention how one drawback of convolution is that it's static and doesn't modulate, and how an algorithmic reverb like Valhalla Reverb or Valhalla Supermassive can be used to add organic movement to a sound. I demonstrate how to solo and EQ each module, and also how to adjust the mod rate and mod depth of the reverb. Finally, I show how to use the grain reverb and delay to further enhance the sound.

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 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.

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 demonstrated how to clone EQ settings using impulse responses, showing the process with tools like an EQ curve analyzer, Ozone 8 EQ, and a convolution device. By recording the output of the Ozone 8 and using a test tone or Dirac signal, I showcased two methods to replicate the linear phase EQ setting. This technique is useful especially if you don't have a built-in linear phase EQ in your DAW like Bitwig.

In this video, im demonstrating how to use a plug-in called Radio to listen to radio stations in a Digital Audio Workstation (DAW). Showing how to select different genres and radio stations, as well as how to save clips from the radio and drag them into a sampler. I also demonstrate how to use a pitch map or retune for pitch correction, as well as how to use a convolution reverb and auto leveler. I use tomophone and synth to create some music with the radio samples.

In this video, I discussed the E-SNARE device in Bitwig Studio. I showed how to blend between the two oscillators, mix the noise with the envelope, and shape the sound with filters and the output section. I explained how to create snare sounds with the device, such as deep snares, light snares, and rim shots. I also showed how to add room to the sound with the convolution device and how to layer the snare with a sample using the ADSR. Finally, I demonstrated how to use distortion, EQ, and saturation to shape the snare sound and how to use a peak limiter and Valhalla Supermassive to add texture.

In this video, I show how to create interesting sounds and soundscapes using tones and wavetables. I primarily use Bitwig Studio and Serum, but just the wavetable editor in Serum. I demonstrate how to manipulate the wavetable by drawing in different wave shapes and randomizing certain partials. I then export the wavetable and import it into Bitwig Studio's wavetable oscillator. Using the wavetable oscillator, I create a motif by randomizing pitch steps and applying pressure and timbre modulation. I also incorporate effects like convolution reverb and delay to enhance the sound. I then explore using the polygrid to create more complex sounds by drawing in sign partials and modulating them over time. Finally, I use the polygrid to create a pad sound by combining sign partials, applying ADSR envelopes and filters, and adding effects like delay and chorus.

In today's video, I show you how to create a music track in Bitwig Studio. I start off by using various modules and sequencers to generate a melodic sequence. Then, I add convolution and delay effects to create depth and ambiance. Finally, I layer in drums and bass, apply sidechain and modulation, and add some additional melodies to complete the track.

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 demonstrate how to split audio signals into multiple frequency ranges without introducing significant phase issues, particularly in Bitwig Studio. While traditional analog-modeled EQs and tools like Ozone 8 introduce phase offsets or latency, I showcase methods such as using the spectral FX frequency split in Bitwig and custom convolution presets to achieve clean splits. I provide these custom presets for free in the description so viewers can experiment and give feedback.