FM Synthesis

In this video, I discuss the topic of frequency modulation (FM) and the differences between exponential and linear FM. I explain how exponential FM works by modulating the nodes of an oscillator, while linear FM modulates the frequency directly. I also mention the confusion between phase modulation (PM) and frequency modulation in some synthesizers. I highlight the Phase 4 synthesizer as a great tool for FM sounds and talk about my recent EP release on Bandcamp. I share my process of creating music videos, focusing on creating the music first and then editing the video to fit the music. I explain how I use empty wave files to create a BPM grid in Final Cut. Lastly, I provide an update on the gravity modulator in the Bitwig Discord community and thank viewers for their engagement and support.

In this video, I explain how to use frequency modulation (FM) synthesis in Bitwig Studio, showcasing different and unusual ways to apply FM. I demonstrate how to modulate the frequency in a linear way using the speed knob in a sampler, creating harmonic and disharmonic sounds. Additionally, I explore FM techniques using wavetable LFOs, feedback modulation, and modulating the delay time.

Finally, a quick look at FM synthesis (using Phase-4). Digital piano sounds, bell sounds, and percussion aren't that different from each other. Here’s how you can tackle that with FM synthesis.

In this video, I explore the pitch shifter feature in Bitwig Studio 5.3, highlighting its potential beyond simple pitch shifting to create unique and experimental sound design. I demonstrate various techniques, such as modulating the grain rate and using phase modulation, which can produce interesting effects akin to physical modeling and FM synthesis. While not ideal for high-quality pitch correction, this tool shines in creative sound manipulation and offers endless possibilities for experimentation.

I'm sharing a free Bitwig preset called BND Wave Cycle Bender, inspired by Colugo's BND device for Reaktor, which applies pitch-tracked phase modulation to audio for unique distortion effects. This tool allows you to add new harmonics and character to your audio samples by tracking pitch and modulating them with a sine oscillator, with adjustable delay and modulation settings for creative results. You can download the preset from my Patreon or GitHub and experiment with it on your own sounds to discover interesting textures and effects.

Here we learn about FM and PM synthesis, and how to build a simple FM synth in the Grid.

The Steps module in Bitwig Studio 3.2, now with interpolation mode, looks similar to a multi-stage envelope generator but is more limited, as you can only interpolate between steps without flexible curve adjustments or additional point insertion. Despite these limitations, the Steps module is highly versatile and can be used as a drawable oscillator, for wavetable synthesis, phase modulation, and inventive sound design when combined with other Grid modules. The video demonstrates creative ways to use the Steps module within musical contexts, emphasizing the limitless potential of combining Grid devices in Bitwig Studio.

In this video, I discuss different methods of synthesizing sounds inside the grid, including subtractive synthesis, additive synthesis, frequency modulation, physical modeling, and granular synthesis. I provide detailed tutorials on how to create your own oscillator and change the waveform over time using modules like steps, phaser, and value. I also demonstrate how to create an additive synthesizer by adding multiple sine waves with different frequencies and how to use a filter to modify the sound. Additionally, I show how to use granular synthesis and a resonator to create interesting sounds. Overall, the goal is to encourage viewers to create sounds for their projects rather than focusing on designing instruments. If you have any questions or comments, please leave them below, and don't forget to subscribe, like, and support the channel if you enjoy the content.

In this video, I explore interesting sound ideas by using various techniques. I start with a simple sine oscillator setup and then incorporate feedback and phase modulation to create inharmonic overtones. I demonstrate how tools like pitch mapping, filtering, and sampling can be used creatively to manipulate and design unique sounds.

In this video, I start from scratch in Bitwig Studio to create a nice sounding loop using special techniques. I use the Poly-Grid to create background drones with sine oscillators and phase modulation for interesting overtones. I then sample these sounds and use them in a sampler, add effects, and create percussion elements to complete the loop.

In this video, I explain why there is no sine wave in a classical subtractive synthesizer. This is because sine wave has no overtones and therefore makes no sense in terms of subtractive synthesis. I explain how the filter section can be used to target and amplify the fundamental frequency as well as other partials in the harmonic series. I also provide an overview of other synthesis methods such as additive synthesis, Wavetable synthesis, FM synthesis, phase distortion, vector synthesis, granular synthesis, and physical modeling. In each of these methods, sine waves make more sense. Finally, I explain why a saw and pulse waveforms are used in polysynth - because they give different harmonic overtones.

In this video, I show how to create a hocket machine in Bitwig Studio using audio receivers and modulation. I use a track called "hocket" with a classic 8 modulator and multiple audio receivers that receive audio from different tracks. To prevent unwanted noise, I adjust the smoothing value when switching between audio sources. I also demonstrate how changing the playback speed, time base, phase modulation, and direction can create different grooves and patterns. I use unusual rhythms on all the tracks to create a more drastic effect. The limitation of this system is that it only has eight steps in the classic 8 modulator. Overall, this effect is easy to setup and can create some interesting outcomes in a 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.