To try to improve my sound design fundamentals, and also to actually understand Bitwig better, I'm going through a bunch of sound design tutorials online, making reasonably close approximations using Bitwig internal devices and saving them as presets.
It's nothing groundbreaking obv, but I'm happy to share what I think ends up sounding good.
Here are 10 synthwave presets that have come out of it, I'll share more as I continue on the journey. Any feedback is appreciated.
A small useful thing that I've needed for a long time since Space Boy from Elevayta does not work with sandboxing...
It splits the frequency of the source signal into several bands and uses those bands' amplitude to modulate the EQ bands of the target track, in effect creating "space" in the track, removing conflicting frequencies.
Install by copying the .bscene to /clips directory of the Bitwig library. The effect can be found in the "clips" category inside Bitwig.
Best way to use the effect is to place an audio receiver before the FX layers on both modulator and audio track, copypasting the effects around loses the audio sidechain settings, and the effect does something, but not what intended.
Creates swarms of notes based on the harmonic content of the incoming sounds. Glithcy and fun! Very,very sensitive to the "sensitivity" setting, the difference between too much harmonics and none played can be around 1 percent , so set with care... I might make the detection more accurate, but there's some issues so I'll see.
It works by separating the signal to 12 bands, each of which has a Resonant Bank device to resonate at the fundamentals of each note of the scale. Then there is a note replacer on each band, and this first paraller layer is followed by a note combiner device created by u-u-u. Has some macro controls, and also the octave of the generated notes can be modulated via two different paths.
The patch is not really good for use in songs since it's really CPU heavy, there are 60 bandpass filters (switchable between 8 and 16 pole steepness), and probably hundreds of automation routings. Since they're all audio rate... Well. But very cool for sound design work.
I tried to make the macro controls artistically sensible, have every control do something useful, and avoid the possibility of "bad settings". There are two tabs of macro controls, a few right on the chain page, and the most on the layer after that. I could have moved them all to the main page, but that would have doubled most of the macros which causes all kinds of problems in practise.
A light version of this patch could probably be built around the internal Bitwig resonator bank. But the inner workings could not be finetuned.
Anyway, I had this sound in my head for days, it did not end up sounding exactly as I envisioned, but on the other hand I can see myself using this a lot on arpeggiated short note runs, pads, etc.
Having a separate delay on every frequency band did not end up sounding as cool as I hoped. I might think about that at some point, I remember the old NI Spectral Delay used to be very cool. But then again it was optimized for running tons of very narrow bands...
10-band vocoder built inside Bitwig, built and tested in v2.2.
There is three tracks, one for wet FX, one for carried and one for modulator. If you just save and re-import the preset, the audio receiver settings are broken inside the patch and be must set by hand again, 30 times in total for all bands :P
I tried to make the controls sensible, but they might be somewhat dependent on incoming signal strength, I guess both carrier and modulator should match their volume.
It works by having three 4-pole bandpass filters in series for both carrier and modulator. The series is to rise the steepness of the filter. The audio sidechain is used to modulate the amplitude of the carried signal with the output of the last of the modulator's filters.
Resonances of both carried and modulator analysis bands can be independently set, as well as the attack and release of the envelope follower. So both sharp robotic and more ringing effects can be got. The analysis bands are approximately placed close to as many vowels as possible, but they can be tuned upward (the lowest is at 60hz by default) and also swept with a LFO to get phaser-like sounds.
A phaser inspired by the Moog Moogerfooger 12 stage phaser.
The amp's (there's only one) mix knob should be set to 100 percent wet, like it's now the plugin produces a very different sound from the intended.
Two versions for both 6 and 12 pole operation are provided. The 6 pole version has an unusual parallel lowpass filter configuration with some added EQ filters for adjusting the slopes. I did it this way to get some unevenness and grit in the sound. The 12 pole version is made with the resonator bank as it more closely resembles the sound of the 12 pole mode of my unit. In the 6 pole version there is an option of using two different filters, both also have an additional control for overdriving the signal beyond the original unit's sound.
I tried to get all ranges and such to match the original unit as accurately as possible using a spectrum analyzer and my good ears, but of course it's "inspired by", not circuit emulated or something :)
A test instrument built from a DC offset, cross-modulated keytracked LFOs with three voices with each having a setup with three paraller distorted bandpass filters. Macro controls included for basic parameter settings. Monophonic.
Windows: Extract all files to c:\Users\YourWindowsUsernameHere\Documents\Bitwig Studio\Library\Clips Mac: Find your .bwclip files (yeah, I don't have a mac handy) and extract these to the same directory.
How to use:
Okay, it's also how to make your own, too. I was too lazy to separate the instructions. But you can figure it out, you smart primate!
Step 1: Create midi instrument track, no devices on it. Name it something handy, like Envelope 1 or whatev. Step 2: Create clip of needed envelope length. Step 3: Select clip and go to edit. Step 4: Insert one note, doesn't matter which note, but make it the length of the clip. Step 5: See image below (you can't, it's in the PDF in the ZIP file, silly!) to draw your envelope. Make sure to select the same buttons at the lower left to draw your envelope within the midi clip.
NOTE: The envelope is bipolar. Applying this envelope to a parameter will increase it for values above 0 and decrease it for values below 0.
Step 6: For every other instrument/hybrid track in your project, place every device that you would like to receive this envelope (when that new clip on Envelope 1 track plays) within a Note Mod device's FX container.
NOTE: You will have to convert your audio tracks to hybrid tracks in order to receive the envelope on that track. Actually, you might be able to figure something out with the Note Receiver device somehow, but if you have a midi triggered plugin after it, I'm sure it would get complicated, so I just select a blank midi track or controller that I'm not going to use as the midi input.
Step 7: Select the "Envelope 1" track as the note source. Step 8: Expand the FX slot to see the device's/VST's parameters that you'd like to modulate with the envelope. Step 9: Click on the TMB button in the Note Mod device. Step 10: Rotate the knob(s) of parameter(s) to select the amount of modulation affected by the envelope. [see image below] [actually, don't, it's in the pdf in the zip file because KVR's Patch Description box is text only and can't do pictures] Click the TMB button after you are done selecting the amounts to disable modulation amount specification mode (for lack of a better and shorter phrase).
Step 11: Arm (enable midi record) on each track that has the Note Mod device receiving the envelope, otherwise it will not receive it. You may be able to change the midi input device of the track if you do not wish to send it notes from your midi controller. Step 12: Play clips at the same time (the Envelope 1 clip and the clip with your device that receives the envelopes). Step 13: Win!
Step 14: Drag your Timbre automation clips into the browser to save automation presets!
To take this to another level: Automation Clips Preset Sequencer Presets While working in the clip launcher, create a group for all automation clips tracks for easier routing source selections.
[optional] Choose the Group Master as the NOTE output of each group track. Arm the Group Master for receiving midi (to receive from the group tracks). Name it Aw Tomato R. or something. Choose the new Aw group master track as the Note Mod source on your tracks with the devices to automate. [/optional]
Have fun setting up sequences of automation clip presets with the "Next Action" "Do" stuffz! 8)
Create a clip on the Aw Tomato R. group master track and drag it into the browser to save the whole group as a preset!
Disclaimer: powermat will in no way be held responsible for any additional sleepless nights that you may incur while making auotmation clip preset sequences presets.
I patched some kind of weird reverb effect together. You can make pad sounds epic, wide, deep and dirty. Also it shows, Bitwig can do some nice reverb FX if you know how to chain. All default modules are pretty basic but chained together, they become very powerful.
check the demo video: https://www.youtube.com/watch?v=1xUSYoWJmd0
With this you get to control True panning Flip stereo Side lowcut Haas effect if wanted Haas spread (If haas left or right is bigger then zero) Width control Side compression (All ready programmed with macros)
Here is video how it works https://www.youtube.com/watch?v=HecAols1-Uk&feature=youtu.be
An Update from video ++ I changed pan to come after haas effect and after side compressor and side cut. This will be more natural for mixing ++ Changed from Instrument Layer to Chain so its more convenient to find ++ Side lowcut is set to lowcut delay in haas effect also so when you dont want stereo on low and use haas it will not smear on low freq. ++ Changed knob type on Flip F-T(false-true) so it starts with it inactive (false). Stereo will flip left and right when you drag it 50 percent and over
Until the modular system is available, we have to stick with the chain modules. And because i really like to have my main drums tuned to the root note i love using drum synth. (like e-kick and e-snare in bitwig). Because they sound too basic for my likings, i created some chains to polish them "a bit". You "can" layer some oldschool drum samples or loops on top to give them more character but they are meant to deliver a clean, generic heavy foundation for your dance drum kit.
The Kick is tuned from F to C (just turn macro 1), also the Snare from (160hz to 320hz)
"Polarity Ultimate Kick-Snare" are two modules for bitwig that creates easy tweakable edm/dubstep/drum & bass kicks and snares. Demo video below, release soon, price: free (of course).
This is a project file for FXpansion's Geist drum vst set-up with: - 2 Aux sends (directly linked to Bitwgig's FX 1 and 2) - 6 Sub Outs - macros for Sub Out levels, Aux 1 level, and Dj Eq low freq - 3 example clips using Bitwig's drum samples (may need initial search to find samples in library)
A little mess about I had turning the Test Tone Generator devices into a synth. Playable on the MIDI keyboard. All is in an instrument layer, so there are two test tone devices acting like two oscillators (unmute for a 2nd one). Macros for ASDR amp envelope, glide and a pre-filter distortion to add more harmonics. Open FX slot and there is a filter with ASDR and reverb. 4 patches included.
An fx chain for a ping pong delay. This uses a tool device to pan the signal to one channel going into delay-2, enabling the ping pong behavior. A few macros are set up, one of which controls both crossfeed knobs so that you can control feedback with one knob as if you were using a dedicated ping pong delay plug.
I have been pretty vocal about some of the crashes but they are quick to make things right. It has the best workflow I have experienced, very intuitive for me. It's worth sticking with if you want bleeding-edge features. Don't read into forum feedback too much, it is pretty solid overall. Adobe Creative Cloud stuff crashes from time to time too, and they are generally well-regarded as being stable and mature.
Please we need a paint tool in the piano roll of BWS...... Its really important for drum sequencing... I think that's a big missing tool in BWS.... Especially considering hiphop trap producers that are many in this new age...
And I would love some sort of "auto-tune" for audio. I love BWS but when recording certain instruments I have to bounce the track to a file, move it into Logic on another computer, apply appropirat tuning, bounce that down to a new file and import that file into my Bitwig project. Takes a few extra minutes with a USB stick handy, but as I said it would be really great to do everything inside Bitwig.
I could not make it work in Fedora. I installed the JRE, I activated it as standard Java application, I did everything (apparently) correct. When I call it via terminal or via shortcut, it opens only the splash and nothing else ...