Polysynth

The Bitwig Studio Polysynth features two identical oscillators with flexible waveform shaping, unison, sync, blend operators, and the ability to blend with noise and modulate filter parameters. It offers robust filtering options, two envelope generators for amplitude and filter shaping, and extensive modulation and voice control for a highly customizable sound. Additional options and voice modes can be accessed through the inspector panel, providing versatile sound design capabilities.

The Audio-Rate modulator in Bitwig Studio lets you use an audio signal, such as the output from a polysynth or any other track, to modulate parameters like filter cutoff, offering unique sound-shaping options. It provides features like channel selection, gain adjustment, low-pass filtering, rectification, and sidechain input, allowing for creative cross-modulation and feedback loops within or across tracks. By routing audio through effects and back into the modulator, you can generate complex and evolving sounds through self-modulation and extended feedback chains.

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 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 recreated the Stranger Things theme using Bitwig Studio. I also collaborated with a friend to recreate the intro, resulting in Prolavity Things'. All the tracks in the project were created using Bitwig only, including an E-kick, Polysynth, and a sampler with my voice. I also showcased the Bitwig 3.0 tape machine preset that I made for the master track. The project does not use any dynamic processors, only a peak limiter at the end. I recorded my voice for some portions of the track. I provided the project download link in the description. Additionally, I mentioned the Bitwig Outrun Challenge for creating and sharing Retro Wave or Synthwave presets. The challenge is for fun and there are no prizes involved. Thanks for watching and see you in the next video.

In this video, I demonstrate a simple trick to create a modal chord progression in Bitwig Studio. By stacking major chords and using a multi-note, I'm able to create a jazzy, yet smooth chord progression that is not in a set scale. I then use a note wrap preset to create an auto-inversion effect, and use a pitch quantizer to ensure that the notes fit the chords. To add to the jazzy feel of the track, I use a polysynth with a channel filter to create a bass line, and an arpeggiator with note repeat for a more interesting melody.

In this video, polarity explains how to use voice stacks to create interesting textures, melodies, and atmospheres in Bitwig Studio. The speaker demonstrates how to use a note grid, multiple MIDI channels, a polysynth, chorus, reverb, delay, and a note repeat to create a bass pattern. They also explain how to modulate the voice stack modulator with a random mod, pitch, transpose, and LFO classic to get different frequencies and textures in key.