Polymer

In this video, I demonstrate how to use the modulation capabilities in Bitwig Studio, specifically with the Polymer synthesizer. I show how to use a small trick with a wavetable to get more out of the synthesizer and push it in different directions. I explain the concept of using modulators and how you can create different sounds by modulating different parameters. I also show how you can use the wavetable oscillator as a modulation source and create FM, subtractive, and additive synthesis within the Polymer synthesizer. Overall, I highlight the power of modulations in Bitwig Studio and how they can enhance your sound design capabilities.

In this video, I show how to turn the Polymer synthesizer into a physical modeling synthesizer using the Carpular Strong Method. This involves adding an ADSR in polyphonic mode, increasing the noise to 100%, using the comp filter instead of the cell and key filter, and modulating the drive with an ADSR. I also show some additional options like modulating the damping of the comp filter with expressions and velocity, increasing the resonance limit, softening the attack with a longer attack time, and modulating the noise envelope. I also demonstrate how to use a stereo oscillator, add distortion, and use a high pass filter for lower tones. Finally, I show how to save this as a preset and recall it when needed.

In this video, I start with a completely empty project in Bitwig Studio and build a track from scratch. I start by creating a loop with a melodic kick drum using a Grid patch. I then add variation to the pattern by using a note delay effect. Next, I add hi-hats and claps using the E-Hat device and XO plugin. I create a drone sound using PianoTek and Supermassive, and then add melodic lines using the Polymer synth and a note grid step sequencer. I also use various modulators to add movement and variation to the melodic lines. Finally, I create a bassline using the Polymer synth and apply sidechain compression to the bass and the entire music bus.

In this video, I show you how to easily synthesize hi-hats using a normal subtractive synthesizer like Polymer in Bitwig. By adjusting settings like detuning, unison, and adding noise, you can create a metallic sound with different velocity and filter expressions. To avoid CPU spikes, it is recommended to sample the hi-hats and use them in your project.

In this video, I demonstrate a cool trick in Bitwig Studio using the Polymer synthesizer. By attaching an audio rate modulator and feeding it back into the front of the synthesizer, I can create interesting modulation effects and generate unique sounds. This feedback loop allows for subtle or prominent modulation effects, giving a wide range of possibilities for creative experimentation.

In this video, I showed how to create a hypersaw sound in Bitwig Studio without using an oscillator with a unison feature. I used the polymer synthesizer and modulated the pitch and panning using the random mod. I also used voice stacking to create a dense sawtooth sound. To create the typical ray fleets, I modulated the note with the root, seventh, fifth, and two octaves lower. I also demonstrated the use of other oscillators like the wave table and the swarm oscillator to change up the sound. Multiple notes are necessary to achieve the desired effect. Overall, this is a simple and easy way to create a hypersaw sound.

In this video, I explored the differences between the native Bitwig devices like EQ Plus and Flanger Plus, compared to the grid devices like Delay Plus and Polymer. I speculated that in the future, we may get container devices that allow us to build our own devices with DUI interfaces without having to hassle with the DUI designer. I demonstrated how to construct a Delay Plus-like device in the FX Grid, using a diffusion network, EQs, and a ducking knob. I concluded that while we can't replicate the Delay Plus exactly in the Grid, it is possible to create something similar in its place.

In this video, I demonstrate how to create a random note generator using the Polymer synthesizer in Bitwig Studio. I use the Node Grid and the Dice module to generate random nodes, and the Triggers module to create eight equally spaced triggers within one bar. I then use the Shift register to record and modify the generated sequence, allowing for variations and alterations in the playback.

In the video, I showed how to make music in Bitwig Studio using global modulators. I used two step modulators, one for values and one for melody. I connected them to a polymer synthesizer and routed them through a node grid. I used the values from the step modulator to modulate various parameters in the synthesizer, such as decay time, amplitude envelope, and mix levels. I also used the melody step modulator to generate notes and trigger them using clock and XOR modules. I demonstrated how changing values in the step modulators can instantly modify the sound and trigger different sequences. Overall, it was a fun and nerdy way to create music in Bitwig Studio.

In this video, I take you through a journey of creating a 16-bar loop with the tools I showed in the last videos. I use a Euclidean rhythm generator, clap samples, hi hats, a Phase 1 synth, and a Polymer synth to create a nice beat. Then I use a Melody Generator and a Polysynth to create the melody. I also show you how to modulate the instruments and create transitions, as well as how to make a filter sweep. In the end, I have created a nice 8-bar loop and I hope that this video has been inspiring and educational.

In this video, I start by using polymer to create a quad progression with a saw 16 fat spread out. I then add chorus and delay effects, as well as a no transpose and a global modulator. Next, I record the sound into audio and put it into a sampler, applying reverb and using the transpose feature. I also create a bass from the recorded sound and add percussion elements to create an interesting pattern. Finally, I introduce a lead sound and make some adjustments to the cutoff, volume, and randomization. I end the video with a crash and thank the viewers for watching.

In this video, I discuss the new devices in Bitwig Studio 5.1 called Sweep and Filter Plus. These devices resemble Polymer and allow users to load in grid modules into specific sections, making it a more modular experience. I hope that in the future, we will have the ability to define what we want in each section and have the option to create chain devices or instruments with grid modules.

In this video, I explained the process of creating a percussion loop from scratch. I used a kick drum, e-kick by Bitwig and a bass sound made with a polymer. I then layered high heads from Bitwig Studio and XO on top. I then used a Wavetable oscillator combined with a flanger with a lot of feedback and an envelope to create a metallic sounding percussion. I then used a gate repeater and an LFO to create rolls and shape the sound. I then used an XO module to ensure only one sound was active at a time. I also used Valhalla delay, distortion delay, and halftime to give it an extra metallic room sound with a bit of distortion. Finally, I used a Newfangled Elevate, some ducking, and a limiter to finish off the sound.

In today's video, I show how to create a multi-band delay effect using the polymer synthesizer as input. I demonstrate how to use the FXgrid, filters, and a mod delay to create the effect. I also implement macros for resonance, feedback, and filter cutoff. To make changing the delay timings easier, I use a step mode interface. I explain the logic behind it and how to map it to each delay. I discuss the limitations of the grid for creating interface controls and the need for better interfaces. I give examples of how the effect sounds and suggest adding a convolution reverb. I also mention the possibility of using pitch quantization and panning for more control. Overall, it's a creative way to achieve a multi-band delay effect with a flexible interface.